Anya M. Wassenberg's Blog: Art & Culture Maven, page 143
November 5, 2013
Day of the Dead/Dìa de los Muertos at Harbourfront Toronto November 9 & 10 2013
From a media release:
Day of the Dead/Dìa de los Muertos
Presented by Scotiabank
November 9 & 10, 2013
Harbourfront Centre celebrates the memory of the departed with a two-day festival
• Complete Day of the Dead festival listings can be found here
TORONTO, ON – Celebrate the lives of the departed at Harbourfront Centre’s annual Day of
the Dead/Dìa de los Muertos Festival (Nov. 9 & 10, 2013). Produced in partnership with Scotiabank and the Consulate General of Mexico, Harbourfront Centre’s two-day festival runs every day from noon to 6 p.m. and offers patrons an opportunity to explore celebrations from Mexico, and other areas of Latin America, with handcrafted ofrendas (altars), concerts, film, family activities and more.
Highlight performances include a Toronto concert debut from Canadian-Mexican singer Mamselle, authentic mariachi music from Mariachi Mexico Amigo, a lecture on famed artist Jose Posada with Chicago-based historian Diane Miliotes and vibrant Latin dances presented by the Mexican Folkloric Dance Company and Ballet Folklorico Puro Mexico.
In addition to the free festivities inside, the public is invited to celebrate the legacy of lost loved ones with a large outdoor ofrenda (altar) in Ontario Square. Traditionally, marigold flowers are placed on ofrenda’s to honour the departed. Throughout the festival, families can make beautiful paper marigolds or leave a message to passed loved ones on a pre-made maple leaf.
Woven throughout Harbourfront Centre’s Day of the Dead programming is “The Big IDEA.” The Big IDEA is a tool that was created to help patrons explore ideas across a broad range of artistic disciplines and cultural programmes. This fall, Harbourfront Centre presents “Curious” and explores programming that fuels curiosity.
Are you curious about the Day of the Dead? Join us and find out what the celebration is about!
For additional information and complete event listings, the public may visit harbourfrontcentre.com or call the Information Hotline at 416-973-4000. Harbourfront Centre is located at 235 Queens Quay West in the heart of downtown Toronto’s waterfront. Visit harbourfrontcentre.com/gettinghere for information about getting here during the Queens Quay revitalization,
Day of the Dead/Dìa de los Muertos
Presented by Scotiabank
November 9 & 10, 2013
Harbourfront Centre celebrates the memory of the departed with a two-day festival
• Complete Day of the Dead festival listings can be found here
TORONTO, ON – Celebrate the lives of the departed at Harbourfront Centre’s annual Day of the Dead/Dìa de los Muertos Festival (Nov. 9 & 10, 2013). Produced in partnership with Scotiabank and the Consulate General of Mexico, Harbourfront Centre’s two-day festival runs every day from noon to 6 p.m. and offers patrons an opportunity to explore celebrations from Mexico, and other areas of Latin America, with handcrafted ofrendas (altars), concerts, film, family activities and more.
Highlight performances include a Toronto concert debut from Canadian-Mexican singer Mamselle, authentic mariachi music from Mariachi Mexico Amigo, a lecture on famed artist Jose Posada with Chicago-based historian Diane Miliotes and vibrant Latin dances presented by the Mexican Folkloric Dance Company and Ballet Folklorico Puro Mexico.
In addition to the free festivities inside, the public is invited to celebrate the legacy of lost loved ones with a large outdoor ofrenda (altar) in Ontario Square. Traditionally, marigold flowers are placed on ofrenda’s to honour the departed. Throughout the festival, families can make beautiful paper marigolds or leave a message to passed loved ones on a pre-made maple leaf.Woven throughout Harbourfront Centre’s Day of the Dead programming is “The Big IDEA.” The Big IDEA is a tool that was created to help patrons explore ideas across a broad range of artistic disciplines and cultural programmes. This fall, Harbourfront Centre presents “Curious” and explores programming that fuels curiosity.
Are you curious about the Day of the Dead? Join us and find out what the celebration is about!
For additional information and complete event listings, the public may visit harbourfrontcentre.com or call the Information Hotline at 416-973-4000. Harbourfront Centre is located at 235 Queens Quay West in the heart of downtown Toronto’s waterfront. Visit harbourfrontcentre.com/gettinghere for information about getting here during the Queens Quay revitalization,
Infinithéâtre Montréal Presents the Return of Kafka’s Ape November 7 to 24 2013
From a media release:
Infinithéâtre Presents the Return of
Kafka’s Ape
Based on Franz Kafka’s short story, A Report to an Academy
Adapted from the original German and directed by Guy Sprung
Thursday, November 7 – Sunday November 24, 2013
“I deliberately don’t use the word ‘freedom’. ‘Freedom’ is a powerfully seductive word which your so-called civilized world uses very cleverly, very effectively, to entrap and occupy whole continents.” - Redpeter
MONTREAL - Infinithéâtre presents the remount of its hugely successful world premiere of Kafka’s Ape, Guy Sprung’s adaptation of Franz Kafka’s A Report to an Academy, from the original German.
Kafka’s Ape runs from Nov. 7-24 at Bain St. Michel. This disturbing satire is a theatrical tour-de-force starring company favourite Howard Rosenstein as keynote speaker, the primate Mr. Redpeter. Born in 1883, Kafka is one of the most influential authors of the 20th century.
Sprung is thrilled with the response the play garnered during its original run, “During the last week of the February performances we were turning audiences away. We are bringing the show back to be able to offer it to schools, particularly CEGEPs and universities, as well as Montreal audiences who missed the opportunity to catch one of the most exciting productions of the city’s past theatre season.” Sprung is looking forward to revisiting the production, “Last season was the premiere of a first draft of the play and an initial exploration of the central character. This new rehearsal period will allow the company to polish the script, deepen the tragic ape to human internal journey and have the time to expand and define the onstage relationship between Redpeter and Mrs. Redpeter.”
Captured on the Gold Coast and imprisoned in a cage, Redpeter’s only escape route is to become a walking, talking, spitting, hard-drinking member of the Peace Industry, the entrepreneurial world of mercenary soldiers. In detailing the journey of his enforced evolution from Apehood to Humanhood, Mr. Redpeter is a living embodiment of the irony that perhaps now he is more animal than he ever was as an ape. Witness a human become an ape become a human before your very eyes...
When Kafka’s piece, Ein Bericht an eine Academie (Report to an Academy) was first published in 1917, the Great War was still raging. Millions of human beings were coerced into an orgy of killing each other and proving Homo sapiens to be vastly superior to gorillas and chimpanzees when it came
to mass murder and genocide.
Writer/director Guy Sprung has adapted Kafka’s story, originally a tale of the captured simian turned into a celebrated variety show act, and has Redpeter end up as a distinguished member of the ‘private security industry’, a euphemism that white-washes his reality as a mercenary soldier. Sprung is certain Kafka will not object to this contemporizing of his work, “Just as Redpeter, in the original, had to distort his animal nature to be accepted into humanhood, so in our version he has to distort his nature even more to be assimilated into one of the most heinous occupations that Homo sapiens has embraced on its evolutionary journey - the privatization of the killing and the subjugating of other human beings for profit.” Kafka’s central thesis, that other animals have a dignity and a respect for Mother Nature and their own species which Homo sapiens have lost, has been nudged into the 21st century. Sprung adds, “My father’s generation of Canadians who volunteered to fight in the Second World War must be rolling in their graves to see the military turned into a for-profit enterprise.”
Kafka’s Ape
Infinithéâtre at Bain St-Michel
5300, rue St-Dominique (corner Maguire)
Tuesday to Saturday at 8:00 pm, Sunday matinée at 2:00pm
Tickets: $17-$25, Infinithéâtre 6pack available
Sunday, November 10 is pay-what-you-can
Tickets: Regular: $25, Students/Seniors: $20, Groups: $17, Infinithéâtre 6Packs available (6 tickets for $75)
Box Office: 514 987-1774 ext. 104, online at www.infinitheatre.com with PayPal, Ticket sales at the door are CASH ONLY
Other upcoming Infinitheatre shows:
• The Pipeline, Dec. 4-8
&b7ll; Infinithéâtre’s annual series of free public readings, presenting three new Québec plays Hanafuda Denki (The Dance of Death), Jan. 13-18 - A Goth-Manga-Kabuki-Pop gender-bending musical treat for the senses
Infinithéâtre Presents the Return of
Kafka’s Ape
Based on Franz Kafka’s short story, A Report to an Academy
Adapted from the original German and directed by Guy Sprung
Thursday, November 7 – Sunday November 24, 2013
“I deliberately don’t use the word ‘freedom’. ‘Freedom’ is a powerfully seductive word which your so-called civilized world uses very cleverly, very effectively, to entrap and occupy whole continents.” - Redpeter
MONTREAL - Infinithéâtre presents the remount of its hugely successful world premiere of Kafka’s Ape, Guy Sprung’s adaptation of Franz Kafka’s A Report to an Academy, from the original German.
Kafka’s Ape runs from Nov. 7-24 at Bain St. Michel. This disturbing satire is a theatrical tour-de-force starring company favourite Howard Rosenstein as keynote speaker, the primate Mr. Redpeter. Born in 1883, Kafka is one of the most influential authors of the 20th century. Sprung is thrilled with the response the play garnered during its original run, “During the last week of the February performances we were turning audiences away. We are bringing the show back to be able to offer it to schools, particularly CEGEPs and universities, as well as Montreal audiences who missed the opportunity to catch one of the most exciting productions of the city’s past theatre season.” Sprung is looking forward to revisiting the production, “Last season was the premiere of a first draft of the play and an initial exploration of the central character. This new rehearsal period will allow the company to polish the script, deepen the tragic ape to human internal journey and have the time to expand and define the onstage relationship between Redpeter and Mrs. Redpeter.”
Captured on the Gold Coast and imprisoned in a cage, Redpeter’s only escape route is to become a walking, talking, spitting, hard-drinking member of the Peace Industry, the entrepreneurial world of mercenary soldiers. In detailing the journey of his enforced evolution from Apehood to Humanhood, Mr. Redpeter is a living embodiment of the irony that perhaps now he is more animal than he ever was as an ape. Witness a human become an ape become a human before your very eyes...
When Kafka’s piece, Ein Bericht an eine Academie (Report to an Academy) was first published in 1917, the Great War was still raging. Millions of human beings were coerced into an orgy of killing each other and proving Homo sapiens to be vastly superior to gorillas and chimpanzees when it came
to mass murder and genocide. Writer/director Guy Sprung has adapted Kafka’s story, originally a tale of the captured simian turned into a celebrated variety show act, and has Redpeter end up as a distinguished member of the ‘private security industry’, a euphemism that white-washes his reality as a mercenary soldier. Sprung is certain Kafka will not object to this contemporizing of his work, “Just as Redpeter, in the original, had to distort his animal nature to be accepted into humanhood, so in our version he has to distort his nature even more to be assimilated into one of the most heinous occupations that Homo sapiens has embraced on its evolutionary journey - the privatization of the killing and the subjugating of other human beings for profit.” Kafka’s central thesis, that other animals have a dignity and a respect for Mother Nature and their own species which Homo sapiens have lost, has been nudged into the 21st century. Sprung adds, “My father’s generation of Canadians who volunteered to fight in the Second World War must be rolling in their graves to see the military turned into a for-profit enterprise.”
Kafka’s ApeInfinithéâtre at Bain St-Michel
5300, rue St-Dominique (corner Maguire)
Tuesday to Saturday at 8:00 pm, Sunday matinée at 2:00pm
Tickets: $17-$25, Infinithéâtre 6pack available
Sunday, November 10 is pay-what-you-can
Tickets: Regular: $25, Students/Seniors: $20, Groups: $17, Infinithéâtre 6Packs available (6 tickets for $75)
Box Office: 514 987-1774 ext. 104, online at www.infinitheatre.com with PayPal, Ticket sales at the door are CASH ONLY
Other upcoming Infinitheatre shows:• The Pipeline, Dec. 4-8
&b7ll; Infinithéâtre’s annual series of free public readings, presenting three new Québec plays Hanafuda Denki (The Dance of Death), Jan. 13-18 - A Goth-Manga-Kabuki-Pop gender-bending musical treat for the senses
Hot Jazz Olde School: The Hot Sardines Live at Joe's Pub NYC November 8 & December 20 2013
From a media release:
THE HOT SARDINES at JOE's PUB
November 8 & December 20, 2013 at 9:30
• Check out & buy their CD Shanghai'd here
NEW YORK CITY - Take a blustery brass lineup, layer it over a rhythm section led by a stride-piano virtuoso in the Fats Waller vein, and tie the whole thing together with a one-of-the-boys frontwoman with a voice from another era, and you have the Hot Sardines. (We haven’t even told you about the tap dancer yet.)
In a short time, the Hot Sardines have gone from their first gig – at a coffeeshop on the last Q train stop in Queens – to selling out Joe’s Pub five times in as many months, headlining at Lincoln Center’s Midsummer Night Swing, and opening for the Bad Plus, Lulu Gainsbourg and French gypsy-jazz artist Zaz. Through it all they’ve become regulars at the Shanghai Mermaid speakeasy and turned The Standard, where they play regularly, into their own “saloon in the sky” (The Wall Street Journal) – complete with tap dancing on the bar – honing a live persona that’s been called “unforgettably wild” and “consistently electrifying” (Popmatters).
The Sardine sound – wartime Paris via New Orleans, or the other way around – is steeped in hot jazz, salty stride piano, and the kind of music Louis Armstrong, Django Reinhardt and Waller used to make: Straight-up, foot-stomping jazz. (Literally – the band includes a tap dancer whose feet count as two members of the rhythm section). They manage to invoke the sounds of a near-century ago and stay resolutely in step with the current age. And while their roots run deep into jazz, that most American of genres, they’re intertwined with French influences via their frontwoman, who was born and raised in
Paris (and writes songs in both languages).
The band was born when said Parisian (“Miz Elizabeth” Bougerol) met a stride piano player (bandleader Evan “Bibs” Palazzo) at a jam session they found on Craigslist. Above a noodle shop on Manhattan’s 49th Street, they discovered a mutual love for songs from the 1920s, ’30s and ’40s that no-one really plays anymore. Or if they play them, “they handle them with kid gloves, like pieces in a museum,” says Evan, underscoring a point the pair can’t stress enough: “This music isn’t historical artifact. It’s a living, breathing, always-evolving thing.”
“Everything’s kind of being rewritten. And when nothing makes sense, there’s something real and satisfying about going to hear raucous jazz played in a dancehall with wooden floors and brown liquor.” – Miz Elizabeth
THE HOT SARDINES at JOE's PUB
November 8 & December 20, 2013 at 9:30
• Check out & buy their CD Shanghai'd here
NEW YORK CITY - Take a blustery brass lineup, layer it over a rhythm section led by a stride-piano virtuoso in the Fats Waller vein, and tie the whole thing together with a one-of-the-boys frontwoman with a voice from another era, and you have the Hot Sardines. (We haven’t even told you about the tap dancer yet.)
In a short time, the Hot Sardines have gone from their first gig – at a coffeeshop on the last Q train stop in Queens – to selling out Joe’s Pub five times in as many months, headlining at Lincoln Center’s Midsummer Night Swing, and opening for the Bad Plus, Lulu Gainsbourg and French gypsy-jazz artist Zaz. Through it all they’ve become regulars at the Shanghai Mermaid speakeasy and turned The Standard, where they play regularly, into their own “saloon in the sky” (The Wall Street Journal) – complete with tap dancing on the bar – honing a live persona that’s been called “unforgettably wild” and “consistently electrifying” (Popmatters).The Sardine sound – wartime Paris via New Orleans, or the other way around – is steeped in hot jazz, salty stride piano, and the kind of music Louis Armstrong, Django Reinhardt and Waller used to make: Straight-up, foot-stomping jazz. (Literally – the band includes a tap dancer whose feet count as two members of the rhythm section). They manage to invoke the sounds of a near-century ago and stay resolutely in step with the current age. And while their roots run deep into jazz, that most American of genres, they’re intertwined with French influences via their frontwoman, who was born and raised in
Paris (and writes songs in both languages).The band was born when said Parisian (“Miz Elizabeth” Bougerol) met a stride piano player (bandleader Evan “Bibs” Palazzo) at a jam session they found on Craigslist. Above a noodle shop on Manhattan’s 49th Street, they discovered a mutual love for songs from the 1920s, ’30s and ’40s that no-one really plays anymore. Or if they play them, “they handle them with kid gloves, like pieces in a museum,” says Evan, underscoring a point the pair can’t stress enough: “This music isn’t historical artifact. It’s a living, breathing, always-evolving thing.”
“Everything’s kind of being rewritten. And when nothing makes sense, there’s something real and satisfying about going to hear raucous jazz played in a dancehall with wooden floors and brown liquor.” – Miz Elizabeth
The Ger Mandolin Orchestra Premiere Canadian Performance November 7 2013 in Toronto
From a media release:
Ashkenaz Foundation presents:
The Canadian premiere performance of
THE GER MANDOLIN ORCHESTRA
Mike Marshall, Musical Director
International ‘supergroup’ re-creates the pre-war Jewish mandolin orchestra of Gora-Kalwaria, Poland
Thursday November 7, 7:30pm, Toronto Centre for the Arts
TORONTO – The Ger Mandolin Orchestra (GMO), who perform in Toronto on November 7, is the brainchild of Israeli-American Avner Yonai. Avner’s search for his family roots in Poland led him to a
tattered photograph of his grandfather and two other relatives playing in a pre-WWII Jewish mandolin orchestra in the Polish town of Gora Kalwaria (Ger in Yiddish). The photograph inspired Yonai to create a contemporary version of this musical group, as a memorial project for his own family and the orchestra members, most of whom perished in the Holocaust.
“We have a lot of stone monuments, but this is a living monument...it brings something to life rather than honouring something that’s dead.” - Prof. Barbara Kirshenblatt-Gimblett (Columbia University, NYC), Program Director, Museum of the History of Polish Jews, Warsaw.
Under the direction of Grammy winner Mike Marshall, the new GMO resurrects a quintessential Jewish musical form. Mandolin clubs and orchestras were at one time ubiquitous in the shtetlakh (villages) of Jewish Eastern Europe and in North American immigrant communities. With authentic instrumentation and repertoire that includes Klezmer, Yiddish, Polish, Russian, Ukrainian, Italian, Czech and classical music, the GMO’s all-star lineup of international musicians achieves a rare synergy between history and virtuosic musical performance
Ashkenaz is pleased to present this very special concert as part of Holocaust Education Week, and will partner with the Yellow Rose Project to bring hundreds of Holocaust Survivors to the concert for free. Ashkenaz will also provide free tickets to students and youth to share this rich musical experience with the next generation.
The 11 member GMO was founded in 2011 as a commission project of the Jewish Music Festival in Berkeley, California. Six months after its premiere performance, the group was invited to Poland to perform in the town of Gora Kalwaria to a packed room of over 500 residents, including the only two remaining Jewish community members.
As a result of the youth workshops conducted by the GMO on that trip, a number of Polish youth mandolin orchestras now perform arrangements of Jewish music. The GMO is led by renowned multi-
instrumentalist Mike Marshall, a multiple Grammy nominee and winner known for his work over the last 35 years with such luminaries as Bela Fleck, David Grisman, Edgar Meyer, and Stephane Grappelli. Marshall is an adventurous innovator whose stylistic mastery ranges from bluegrass and classical to Brazilian folk and jazz.
Marshall is joined in the GMO by an all-star cast of mandolinists from Canada, the US, Europe and Israel. From the classical mandolin world comes San Diego’s Chris Acquavella, and San Francisco’s Dana Rath and Adam Roskiewicz, one half of the Modern Mandolin Quartet, whose most recent album Americana received three Grammy nominations in 2012. The group’s resident experts in Jewish and Klezmer music are New York City’s Jeff Warschauer and Toronto’s Eric Stein, leader of the award-
winning group Beyond the Pale and Artistic Director of the Ashkenaz Foundation. From Portland, Oregon come Brian Oberlin and Tim Connell, mandolinists esteemed for their expertise in bluegrass, jazz and Brazilian music. Adding to the international flavour of the group is Prague’s Radim Zenkl, an astounding virtuoso whose music bridges the worlds of bluegrass, classical and east European folk. The orchestra is completed by two new additions, Chicago-based jazz-mandolin master Don Stiernberg, a protégé of the late great Jethro Burns, and Israel’s Tom Cohen, a remarkably accomplished young mandolinist, composer/arranger and conductor who specializes in Balkan, Roma, North African and Andalusian music.
Event Information:
The Ger Mandolin Orchestra
Thursday November 7, 7:30pm
George Weston Recital Hall, Toronto Centre for the Arts, 5040 Yonge St.
Tickets $36, available from Ticketmaster toll-free 1-855-985-2787, online at www.tocentre.com, or in person at the Toronto Centre for the Arts Box office, 11am-6pm Tuesday to Saturday, 12-4pm on Sundays.
Call 416-979-9901 for information or visit www.ashkenazfestival.com.
Ashkenaz Foundation presents:
The Canadian premiere performance of
THE GER MANDOLIN ORCHESTRA
Mike Marshall, Musical Director
International ‘supergroup’ re-creates the pre-war Jewish mandolin orchestra of Gora-Kalwaria, Poland
Thursday November 7, 7:30pm, Toronto Centre for the Arts
TORONTO – The Ger Mandolin Orchestra (GMO), who perform in Toronto on November 7, is the brainchild of Israeli-American Avner Yonai. Avner’s search for his family roots in Poland led him to a
tattered photograph of his grandfather and two other relatives playing in a pre-WWII Jewish mandolin orchestra in the Polish town of Gora Kalwaria (Ger in Yiddish). The photograph inspired Yonai to create a contemporary version of this musical group, as a memorial project for his own family and the orchestra members, most of whom perished in the Holocaust.“We have a lot of stone monuments, but this is a living monument...it brings something to life rather than honouring something that’s dead.” - Prof. Barbara Kirshenblatt-Gimblett (Columbia University, NYC), Program Director, Museum of the History of Polish Jews, Warsaw.
Under the direction of Grammy winner Mike Marshall, the new GMO resurrects a quintessential Jewish musical form. Mandolin clubs and orchestras were at one time ubiquitous in the shtetlakh (villages) of Jewish Eastern Europe and in North American immigrant communities. With authentic instrumentation and repertoire that includes Klezmer, Yiddish, Polish, Russian, Ukrainian, Italian, Czech and classical music, the GMO’s all-star lineup of international musicians achieves a rare synergy between history and virtuosic musical performance
Ashkenaz is pleased to present this very special concert as part of Holocaust Education Week, and will partner with the Yellow Rose Project to bring hundreds of Holocaust Survivors to the concert for free. Ashkenaz will also provide free tickets to students and youth to share this rich musical experience with the next generation.The 11 member GMO was founded in 2011 as a commission project of the Jewish Music Festival in Berkeley, California. Six months after its premiere performance, the group was invited to Poland to perform in the town of Gora Kalwaria to a packed room of over 500 residents, including the only two remaining Jewish community members.
As a result of the youth workshops conducted by the GMO on that trip, a number of Polish youth mandolin orchestras now perform arrangements of Jewish music. The GMO is led by renowned multi-
instrumentalist Mike Marshall, a multiple Grammy nominee and winner known for his work over the last 35 years with such luminaries as Bela Fleck, David Grisman, Edgar Meyer, and Stephane Grappelli. Marshall is an adventurous innovator whose stylistic mastery ranges from bluegrass and classical to Brazilian folk and jazz.Marshall is joined in the GMO by an all-star cast of mandolinists from Canada, the US, Europe and Israel. From the classical mandolin world comes San Diego’s Chris Acquavella, and San Francisco’s Dana Rath and Adam Roskiewicz, one half of the Modern Mandolin Quartet, whose most recent album Americana received three Grammy nominations in 2012. The group’s resident experts in Jewish and Klezmer music are New York City’s Jeff Warschauer and Toronto’s Eric Stein, leader of the award-
winning group Beyond the Pale and Artistic Director of the Ashkenaz Foundation. From Portland, Oregon come Brian Oberlin and Tim Connell, mandolinists esteemed for their expertise in bluegrass, jazz and Brazilian music. Adding to the international flavour of the group is Prague’s Radim Zenkl, an astounding virtuoso whose music bridges the worlds of bluegrass, classical and east European folk. The orchestra is completed by two new additions, Chicago-based jazz-mandolin master Don Stiernberg, a protégé of the late great Jethro Burns, and Israel’s Tom Cohen, a remarkably accomplished young mandolinist, composer/arranger and conductor who specializes in Balkan, Roma, North African and Andalusian music.
Event Information: The Ger Mandolin Orchestra
Thursday November 7, 7:30pm
George Weston Recital Hall, Toronto Centre for the Arts, 5040 Yonge St.
Tickets $36, available from Ticketmaster toll-free 1-855-985-2787, online at www.tocentre.com, or in person at the Toronto Centre for the Arts Box office, 11am-6pm Tuesday to Saturday, 12-4pm on Sundays.
Call 416-979-9901 for information or visit www.ashkenazfestival.com.
November 3, 2013
Ethan Hawke Stars in Shakespeare's Macbeth on Broadway - Opening Night November 21 2013
From a release:
LINCOLN CENTER THEATER’S PRODUCTION OF
SHAKESPEARE’S MACBETH
IN PREVIEWS NOW - OPENING NIGHT NOVEMBER 21, 2013
AT THE VIVIAN BEAUMONT THEATER
The O'Brien, the Witches, and the Wardrobe
NEW YORK CITY - Director Jack O'Brien will bring Shakespeare's MACBETH, with Ethan Hawke in the title role, to Lincoln Center Theater this fall. If you saw either of his Tony winning LCT productions,
HENRY IV or THE COAST OF UTOPIA, you know that this will be not just any MACBETH, but a searing and spectacular vision as only Jack can create. Here's just a taste of the world he is conjuring, in his own words:
"MACBETH contains some of the most exquisite and articulate language in Shakespeare's canon, coming, as it does, just before HAMLET. Like all masterpieces, the play is, or can be about more than one thing: in this present telling, we are looking at the script from, if not a contemporary point of view (it will not take place in Ottawa during the French and Indian War, for example!), surely from an abstract one. Because in this play one of Shakespeare's great heroes and one of his most brilliant minds goes astray and the result is a nightmare. And so "nightmare" will be the departure point of this production.
Swollen with pride and gleaming with the adrenalin the result of two separate and astounding victories, Macbeth arrives from his battles at the very point Fate warns us most to be vigilant about - the apex of success! And in this larger-than-life persona, he encounters the three witches, who, with wordplay and malevolence, begin to move his brilliance just a quarter turn to the left; and it is a direction from which he never recovers. A super-hero can do anything, right? He believes he alone is in possession of a kind of delirium of success that allows him to do virtually anything he wishes.
Just so tenderly, just so subtly do the witches work their magic upon him, Macbeth disappears further and further down the path to destruction and despair - the great and blinding difference being that he doesn't simply act out his blackened fantasies - he tells us about them, in some of the most probing, glorious, and revealing text ever penned.
In a production drenched in black, and glinting with blood red and dazzling white, MACBETH reveals itself to be Shakespeare's most powerful and darkest nightmare; a terrifying parable for our own time in which we, too, are urged to take more and more chances, whatever the consequences. Shakespeare has the answer: MACBETH is the consequence. We must beware!"
Ethan Hawke, in the title role, is the star and co-author of the current hit film, "Before Midnight." He is well known to LCT audiences from both HENRY IV (Hotspur) and THE COAST OF UTOPIA (Michael Bakunin). Anne-Marie Duff, as Lady Macbeth, is one of England's finest actresses and makes her
American debut with this production. In addition to HENRY and UTOPIA, both of which brought him the Tony Award, Jack O'Brien has directed THE NANCE and THE INVENTION OF LOVE among many LCT shows, plus HAIRSPRAY (another Tony!), THE FULL MONTY, DIRTY ROTTEN SCOUNDRELS and many more.
Opening night for the production, directed by Jack O’Brien, is Thursday, November 21 at the Vivian Beaumont Theater.
In this new production of what is widely considered to be one of Shakespeare’s darkest and most powerful tragedies Ethan Hawke plays Macbeth opposite Anne Marie Duff as Lady Macbeth with Bianca Amato as Lady Macduff, Richard Easton as Duncan, Brian d’Arcy James as Banquo, Jonny Orsini as Malcolm, Daniel Sunjata as Macduff, with Malcolm Gets, John Glover and Byron Jennings as the Three Witches, and Shirine Babb, John Patrick Doherty, Austin Durant, Francesca Faridany, Stephanie Fieger, Ben Horner, Ruy Iskandar, Paul Kite, Aaron Krohn, Jeremiah Maestas, Christopher McHale, Sam Poon, Triney Sandoval, Nathan Stark, Patrick Vaill, Tyler Lansing Weaks and Derek Wilson in other roles.
MACBETH has sets by Scott Pask, costumes by Catherine Zuber, lighting by Japhy Weideman, original music and sound by Mark Bennett, projections by Jeff Sugg and fight direction by Steve Rankin, hair/wigs by David Brian Brown and makeup by Angelina Avallone.
• MACBETH will be performed Tuesday through Saturday evenings at 8pm, with matinees Wednesday and Saturday at 2pm and Sunday at 3pm. Beginning November 26 all Tuesday evening performances will begin at 7pm.
• Tickets, priced from $77 to $137 are available at the Lincoln Center Theater box office, at telecharge.com or by visiting www.lct.org. A limited number of tickets priced at $32 are available at every performance through LincTix, LCT’s program for 21 to 35 year olds. For information and to enroll, visit LincT.org
Images by T. Charles Erickson-
- Brian d'Arcy James & Ethan Hawke
- Ethan Hawke, Daniel Sunjata, Richard Easton & Company
- Anne-Marie Duff
- Ethan Hawke
- Company
LINCOLN CENTER THEATER’S PRODUCTION OF
SHAKESPEARE’S MACBETH
IN PREVIEWS NOW - OPENING NIGHT NOVEMBER 21, 2013
AT THE VIVIAN BEAUMONT THEATER
The O'Brien, the Witches, and the Wardrobe
NEW YORK CITY - Director Jack O'Brien will bring Shakespeare's MACBETH, with Ethan Hawke in the title role, to Lincoln Center Theater this fall. If you saw either of his Tony winning LCT productions,
HENRY IV or THE COAST OF UTOPIA, you know that this will be not just any MACBETH, but a searing and spectacular vision as only Jack can create. Here's just a taste of the world he is conjuring, in his own words:"MACBETH contains some of the most exquisite and articulate language in Shakespeare's canon, coming, as it does, just before HAMLET. Like all masterpieces, the play is, or can be about more than one thing: in this present telling, we are looking at the script from, if not a contemporary point of view (it will not take place in Ottawa during the French and Indian War, for example!), surely from an abstract one. Because in this play one of Shakespeare's great heroes and one of his most brilliant minds goes astray and the result is a nightmare. And so "nightmare" will be the departure point of this production.
Swollen with pride and gleaming with the adrenalin the result of two separate and astounding victories, Macbeth arrives from his battles at the very point Fate warns us most to be vigilant about - the apex of success! And in this larger-than-life persona, he encounters the three witches, who, with wordplay and malevolence, begin to move his brilliance just a quarter turn to the left; and it is a direction from which he never recovers. A super-hero can do anything, right? He believes he alone is in possession of a kind of delirium of success that allows him to do virtually anything he wishes.
Just so tenderly, just so subtly do the witches work their magic upon him, Macbeth disappears further and further down the path to destruction and despair - the great and blinding difference being that he doesn't simply act out his blackened fantasies - he tells us about them, in some of the most probing, glorious, and revealing text ever penned.In a production drenched in black, and glinting with blood red and dazzling white, MACBETH reveals itself to be Shakespeare's most powerful and darkest nightmare; a terrifying parable for our own time in which we, too, are urged to take more and more chances, whatever the consequences. Shakespeare has the answer: MACBETH is the consequence. We must beware!"
Ethan Hawke, in the title role, is the star and co-author of the current hit film, "Before Midnight." He is well known to LCT audiences from both HENRY IV (Hotspur) and THE COAST OF UTOPIA (Michael Bakunin). Anne-Marie Duff, as Lady Macbeth, is one of England's finest actresses and makes her
American debut with this production. In addition to HENRY and UTOPIA, both of which brought him the Tony Award, Jack O'Brien has directed THE NANCE and THE INVENTION OF LOVE among many LCT shows, plus HAIRSPRAY (another Tony!), THE FULL MONTY, DIRTY ROTTEN SCOUNDRELS and many more.Opening night for the production, directed by Jack O’Brien, is Thursday, November 21 at the Vivian Beaumont Theater.
In this new production of what is widely considered to be one of Shakespeare’s darkest and most powerful tragedies Ethan Hawke plays Macbeth opposite Anne Marie Duff as Lady Macbeth with Bianca Amato as Lady Macduff, Richard Easton as Duncan, Brian d’Arcy James as Banquo, Jonny Orsini as Malcolm, Daniel Sunjata as Macduff, with Malcolm Gets, John Glover and Byron Jennings as the Three Witches, and Shirine Babb, John Patrick Doherty, Austin Durant, Francesca Faridany, Stephanie Fieger, Ben Horner, Ruy Iskandar, Paul Kite, Aaron Krohn, Jeremiah Maestas, Christopher McHale, Sam Poon, Triney Sandoval, Nathan Stark, Patrick Vaill, Tyler Lansing Weaks and Derek Wilson in other roles.
MACBETH has sets by Scott Pask, costumes by Catherine Zuber, lighting by Japhy Weideman, original music and sound by Mark Bennett, projections by Jeff Sugg and fight direction by Steve Rankin, hair/wigs by David Brian Brown and makeup by Angelina Avallone.
• MACBETH will be performed Tuesday through Saturday evenings at 8pm, with matinees Wednesday and Saturday at 2pm and Sunday at 3pm. Beginning November 26 all Tuesday evening performances will begin at 7pm.• Tickets, priced from $77 to $137 are available at the Lincoln Center Theater box office, at telecharge.com or by visiting www.lct.org. A limited number of tickets priced at $32 are available at every performance through LincTix, LCT’s program for 21 to 35 year olds. For information and to enroll, visit LincT.org
Images by T. Charles Erickson-
- Brian d'Arcy James & Ethan Hawke
- Ethan Hawke, Daniel Sunjata, Richard Easton & Company
- Anne-Marie Duff
- Ethan Hawke
- Company
Recently Released: David Buchbinder & Odessa/Havana featuring Hilario Durán - Walk to the Sea on Tzadik Records
From a media release:
Recently Released:
David Buchbinder & Odessa/Havana featuring Hilario Durán
Walk to the Sea on Tzadik Records
• Buy the CD here
David Buchbinder's Odessa/Havana celebrates the eagerly anticipated international release of its sophomore CD Walk to the Sea (Tzadik). Once again, Jewish music standout trumpeter David
Buchbinder and Cuban piano master Hilario Durán bring their award-winning compositional prowess to create a unique musical landscape inspiring the virtuosic performances captured on this disc.
The group's self-titled debut CD (Tzadik) was lauded with dozens of rave reviews and won the Canadian Folk Music Award for Best World Music Group/Recording. The CD was praised for its "...delicately textured and dazzlingly tuneful [compositions], and powerful, swinging and lyrical playing..." that is "passionate, dancing and completely irresistible." Since its release the band has toured across North America, playing to sold-out houses at festivals, concerts and clubs.
Now, Buchbinder and his musical compatriots have upped the ante with a renewed focus on the actual
musical sources that flow through the cultures in common, sources that lead directly to the music of Andalusia, the polyglot culture of southern Spain. While the first CD was all original instrumental music, Buchbinder has opened the sound up with the inclusion of four vocal tracks, all coming from the Ladino (Judeo-Spanish) tradition; two are traditional melodies and texts completely reimagined by Durán and two are post-war Ladino poems set to original music by Buchbinder. Both composers have managed to include the voice with no sacrifice in the band's much-lauded power and drive.
Odessa/Havana is a who's who of award-winning jazz and world music masters. Buchbinder was the
leader of the Flying Bulgar Klezmer Band and his own eponymous jazz ensemble and is known for creating music-centered, multidisciplinary spectacles. Durán was the musical director and pianist for Arturo Sandoval and leads both an award-winning trio and big band. Other standouts are bassist and producer Roberto Occhipinti (Jane Bunnett, Gorrilaz) and vocalist Michal Cohen (Meredith Monk, Uri Caine, Frank London), though all of the band members and the guest artists are widely traveled powerhouse musicians.
Buchbinder sees this genre-bending project in an interesting light: as an example of what he calls "post-multicultural creation, a process where two composers grounded in complementary cultures drew on the sonic essence of each to create a truly new sound that is definitely not a mash-up." In fact, the creation of the Odessa/Havana project has been part of the inspiration for the founding of Diasporic Genius, a Toronto-based initiative whose mission is empowering people to make real, positive change in their lives, their communities and their cities, by teaching and applying the power of the creative imagination and activating the hidden resource of diversity.
Recently Released:
David Buchbinder & Odessa/Havana featuring Hilario Durán
Walk to the Sea on Tzadik Records
• Buy the CD here
David Buchbinder's Odessa/Havana celebrates the eagerly anticipated international release of its sophomore CD Walk to the Sea (Tzadik). Once again, Jewish music standout trumpeter David
Buchbinder and Cuban piano master Hilario Durán bring their award-winning compositional prowess to create a unique musical landscape inspiring the virtuosic performances captured on this disc.The group's self-titled debut CD (Tzadik) was lauded with dozens of rave reviews and won the Canadian Folk Music Award for Best World Music Group/Recording. The CD was praised for its "...delicately textured and dazzlingly tuneful [compositions], and powerful, swinging and lyrical playing..." that is "passionate, dancing and completely irresistible." Since its release the band has toured across North America, playing to sold-out houses at festivals, concerts and clubs.
Now, Buchbinder and his musical compatriots have upped the ante with a renewed focus on the actual
musical sources that flow through the cultures in common, sources that lead directly to the music of Andalusia, the polyglot culture of southern Spain. While the first CD was all original instrumental music, Buchbinder has opened the sound up with the inclusion of four vocal tracks, all coming from the Ladino (Judeo-Spanish) tradition; two are traditional melodies and texts completely reimagined by Durán and two are post-war Ladino poems set to original music by Buchbinder. Both composers have managed to include the voice with no sacrifice in the band's much-lauded power and drive.Odessa/Havana is a who's who of award-winning jazz and world music masters. Buchbinder was the
leader of the Flying Bulgar Klezmer Band and his own eponymous jazz ensemble and is known for creating music-centered, multidisciplinary spectacles. Durán was the musical director and pianist for Arturo Sandoval and leads both an award-winning trio and big band. Other standouts are bassist and producer Roberto Occhipinti (Jane Bunnett, Gorrilaz) and vocalist Michal Cohen (Meredith Monk, Uri Caine, Frank London), though all of the band members and the guest artists are widely traveled powerhouse musicians.Buchbinder sees this genre-bending project in an interesting light: as an example of what he calls "post-multicultural creation, a process where two composers grounded in complementary cultures drew on the sonic essence of each to create a truly new sound that is definitely not a mash-up." In fact, the creation of the Odessa/Havana project has been part of the inspiration for the founding of Diasporic Genius, a Toronto-based initiative whose mission is empowering people to make real, positive change in their lives, their communities and their cities, by teaching and applying the power of the creative imagination and activating the hidden resource of diversity.
CD Release - South African Jazz: Kheswa & Her Martians with Meadowlands, Stolen Jazz (Xippi Phonorecords - November 5, 2013)
From a release:
CD Release:
South African Jazz Reawakens - The Recording Debut of Kheswa & Her Martian
Meadowlands, Stolen Jazz (Xippi Phonorecords - November 5, 2013)
• Get the CD here
Nowhere do the parallel cultural identities of South Africa and the United States—nowhere does our parallel racial ethos—speak to us more intriguingly than through jazz. The jazz vernacular has thrived in both
countries thanks to a visceral connection to abstract truths and cultural realities owned in common by our two countries. If you are hip to the richness and renaissance of jazz in today's South Africa, or just curious, you will not want to ignore Nonhlanhla Kheswa, an actress and vocalist who has reinvigorated a "fourth pole" for the music (after Cape Town, Johannesburg, and London) in New York City.
Kheswa & Her Martians release their debut album Meadowlands, Stolen Jazz on November 5, 2013 on Xippi Phonorecords, a label founded by African music icon Youssou N'Dour and his longtime cohort Thomas Rome.
For more than a century now, by a once physical, now also virtual, exchange among musicians, fans, critics, and other enthusiasts, a common jazz vernacular has been nourished. Since the birth of jazz, South Africans have been loquacious, respectful yet self-respecting, partners in a spirited dialogue with the American head office.
For a thirty-year period or so, however, framed first by the self-imposed exile of a significant part of the country’s jazz talent in the early 1960s, later by the restrictions of the anti-apartheid movement’s “cultural boycott” through the 1970s and 1980s, the nerve centers of South African jazz were displaced to London, the most popular exile destination, and to New York’s Chelsea Hotel, where pianist and composer Abdullah
Ibrahim (called “Dollar” for his youthful enthusiasm for the American jazz records traded for with U.S. seamen), lived with his wife, singer and composer Sathima Bea Benjamin, in semi-secluded effervescence, spinning improbable beauty from dreams nourished as much by memories of Cape Town as by the vocabularies of Duke Ellington, Thelonious Monk, Ornette Coleman, and John Coltrane.
Twenty years into post-apartheid South Africa, South Africa’s jazz has awakened from the slumber of that earlier period, yet is still finding its footing in the new political, social, and cultural terrain.
Discovered for the stage by the British director Peter Brook (former artistic director of the Royal Shakespeare Festival and founder of the Théâtre des Bouffes du Nord in Paris), Kheswa has starred worldwide in an adaptation of Can Themba's iconic Sophiatown parable “The Suit.” Her performances are at once anchored in the music's history yet beguilingly original. In 2014, “The Suit” will tour the United States, with nearly a hundred performances in Los Angeles, San Francisco, Seattle, Nashville, Philadelphia, and Ann Arbor.
Kheswa & Her Martians fit hand-in-glove with South African jazz's current youth movement. The group's live performances—such as the one captured on this record—sing electrically, and always with an
undercurrent of that uniquely South African “crying sound” that one hears in all the great saxophone soloists like Kippie Moeketsi, Dudu Pukwana, and Winston Mankunku Ngozi, in the so-called “sax jive” of players like Thomas Phale and David Thekwane, and in Hugh Masekela's or Mongezi Feza's trumpet.
The album's title has threefold significance and is willfully cross-generational. At a poignant moment in the fifth track, “Nonhlanhla's Kofifi Medley,” Kheswa introduces, for the live audience, a thumbnail history of Strike Vilakazi's resistance doublespeak tune, “Meadowlands” (written in 1955), and spontaneously baptizes her album.
Kheswa & Her Martians play jazz that is “Stolen Jazz” in three ways: The music is “stolen” or “hot” in the criminalized sense Kheswa refers to because, as she says, the jazz gatherings held in apartheid-era Meadowlands—an area outside of Johannesburg—were illegal. Secondly, the jazz played in Meadowlands had been “stolen” or “removed” from its rightful geographical locus in Sophiatown before the forced exodus that Vilakazi's song had satirized in code. Lastly, and in an altogether more sanguine vein, Kheswa & Her Martians have “stolen” this album's music in the positive sense of Picasso's famous aphorism, the way “great artists do,” giving new life through their “theft” to a winning selection from the inexhaustible treasures of the South African jazz legacy.
Kheswa's vocal range and clarity, her grace and timing, and her pixie wit should rank her immediately among the music's most interesting newcomers.
CD Release:
South African Jazz Reawakens - The Recording Debut of Kheswa & Her Martian
Meadowlands, Stolen Jazz (Xippi Phonorecords - November 5, 2013)
• Get the CD here
Nowhere do the parallel cultural identities of South Africa and the United States—nowhere does our parallel racial ethos—speak to us more intriguingly than through jazz. The jazz vernacular has thrived in both
countries thanks to a visceral connection to abstract truths and cultural realities owned in common by our two countries. If you are hip to the richness and renaissance of jazz in today's South Africa, or just curious, you will not want to ignore Nonhlanhla Kheswa, an actress and vocalist who has reinvigorated a "fourth pole" for the music (after Cape Town, Johannesburg, and London) in New York City.Kheswa & Her Martians release their debut album Meadowlands, Stolen Jazz on November 5, 2013 on Xippi Phonorecords, a label founded by African music icon Youssou N'Dour and his longtime cohort Thomas Rome.
For more than a century now, by a once physical, now also virtual, exchange among musicians, fans, critics, and other enthusiasts, a common jazz vernacular has been nourished. Since the birth of jazz, South Africans have been loquacious, respectful yet self-respecting, partners in a spirited dialogue with the American head office.
For a thirty-year period or so, however, framed first by the self-imposed exile of a significant part of the country’s jazz talent in the early 1960s, later by the restrictions of the anti-apartheid movement’s “cultural boycott” through the 1970s and 1980s, the nerve centers of South African jazz were displaced to London, the most popular exile destination, and to New York’s Chelsea Hotel, where pianist and composer Abdullah
Ibrahim (called “Dollar” for his youthful enthusiasm for the American jazz records traded for with U.S. seamen), lived with his wife, singer and composer Sathima Bea Benjamin, in semi-secluded effervescence, spinning improbable beauty from dreams nourished as much by memories of Cape Town as by the vocabularies of Duke Ellington, Thelonious Monk, Ornette Coleman, and John Coltrane.Twenty years into post-apartheid South Africa, South Africa’s jazz has awakened from the slumber of that earlier period, yet is still finding its footing in the new political, social, and cultural terrain.
Discovered for the stage by the British director Peter Brook (former artistic director of the Royal Shakespeare Festival and founder of the Théâtre des Bouffes du Nord in Paris), Kheswa has starred worldwide in an adaptation of Can Themba's iconic Sophiatown parable “The Suit.” Her performances are at once anchored in the music's history yet beguilingly original. In 2014, “The Suit” will tour the United States, with nearly a hundred performances in Los Angeles, San Francisco, Seattle, Nashville, Philadelphia, and Ann Arbor.
Kheswa & Her Martians fit hand-in-glove with South African jazz's current youth movement. The group's live performances—such as the one captured on this record—sing electrically, and always with an
undercurrent of that uniquely South African “crying sound” that one hears in all the great saxophone soloists like Kippie Moeketsi, Dudu Pukwana, and Winston Mankunku Ngozi, in the so-called “sax jive” of players like Thomas Phale and David Thekwane, and in Hugh Masekela's or Mongezi Feza's trumpet.The album's title has threefold significance and is willfully cross-generational. At a poignant moment in the fifth track, “Nonhlanhla's Kofifi Medley,” Kheswa introduces, for the live audience, a thumbnail history of Strike Vilakazi's resistance doublespeak tune, “Meadowlands” (written in 1955), and spontaneously baptizes her album.
Kheswa & Her Martians play jazz that is “Stolen Jazz” in three ways: The music is “stolen” or “hot” in the criminalized sense Kheswa refers to because, as she says, the jazz gatherings held in apartheid-era Meadowlands—an area outside of Johannesburg—were illegal. Secondly, the jazz played in Meadowlands had been “stolen” or “removed” from its rightful geographical locus in Sophiatown before the forced exodus that Vilakazi's song had satirized in code. Lastly, and in an altogether more sanguine vein, Kheswa & Her Martians have “stolen” this album's music in the positive sense of Picasso's famous aphorism, the way “great artists do,” giving new life through their “theft” to a winning selection from the inexhaustible treasures of the South African jazz legacy.
Kheswa's vocal range and clarity, her grace and timing, and her pixie wit should rank her immediately among the music's most interesting newcomers.
Lincoln Center Theater Presents Jeff Goldblum & Laurie Metcalf in Domesticated - Opening Night November 4 2013
From a media release:
LINCOLN CENTER THEATER PRESENTS
JEFF GOLDBLUM & LAURIE METCALF IN
DOMESTICATED
OPENING NIGHT IS MONDAY, NOVEMBER 4
AT THE MITZI E. NEWHOUSE THEATER
A New Play by Bruce Norris
Directed by Anna D. Shapiro
Running Time: 2 hours and 10 minutes, including an intermission
NEW YORK CITY - DOMESTICATED, by Bruce Norris, the Pulitzer- and Tony-winning author of CLYBOURNE PARK, dives into the conflagration of gender, power, sexuality and politics that emerges in a private relationship after a public humiliation. In this prescient new play, Laurie Metcalf and Jeff Goldblum
play Judy and Bill Pulver whose marriage is thrust into the public eye by scandal. As told by Norris, their story is wickedly funny, deeply serious and anything but predictable.
In addition to the Tony Award and the Pulitzer Prize for Drama, Bruce Norris won London's Olivier and Evening Standard Awards for CLYBOURNE PARK. His other works include A Parallelogram, The Unmentionables, The Pain and the Itch, We All Went Down To Amsterdam, Purple Heart, and The Infidel.
Anna D. Shapiro directed Bruce Norris's A Parallelogram, The Unmentionables, The Pain and the Itch, Purple Heart and The Infidel. On Broadway, she directed August: Osage County, (Tony Award) and most recently The Motherfucker with the Hat.
Laurie Metcalf has appeared on Broadway in The Other Place and November, receiving Tony nominations for both. Other recent stage credits include the Broadway revival of Brighton Beach Memoirs, and Long Day's Journey Into Night in the West End. She won three Emmy Awards playing Roseanne's sister, Jackie, on the long-running series.
Jeff Goldblum's Broadway credits include Seminar and The Pillowman (Outer Critics' Circle Award and Drama Critics' Award). Film credits include Adam Resurrected, Nashville, Jurassic Park, Independence Day, The Big Chill and The Fly. He was nominated for an Academy Award for the live-action short, Little Surprises.
Join us on Thursday, December 19 from 6-6:45pm for a Platform Series event with cast members Laurie Metcalf and Jeff Goldblum. The event is free and will take place in the Vivian Beaumont Lobby. Seating is limited and available on a first-come, first-served basis beginning a half hour before the talk.
Photos by Joan Marcus
- Laurie Metcalf & Jeff Goldblum
- Mia Barron, Lizbeth Mackay, Karen Pttman, Jeff Goldbum and Vanessa Aspillago
- Jeff Goldblum & Laurie Metcalf
Domesticated Cast Members:
Vanessa Aspillaga, Mia Barron, Robin de Jesus, Jeff Goldblum, Lizbeth Mackway, Emily Meade, Laurie Metcalf, Mary Beth Peil, Karen Pittman, Aleque Reid, Misha Seo
Domesticated Creative Team
Author: Bruce Norris
Director: Anna D. Shapiro
Producer: Lincoln Center Theater
DOMESTICATED will be performed Tuesday through Saturday evenings at 8pm, with matinees Wednesday and Saturday at 2pm and Sunday at 3pm.
• Please note: there will be no performance on Tuesday, November 5.
• Tickets, priced from $75 to $85, are available at the Lincoln Center Theater box office, at telecharge.com or by visiting
www.lct.org
• A limited number of tickets priced at $30 are available at every performance through LincTix, LCT’s program for 21 to 35 year olds. For information and to enroll, visit LincTix.org.
LINCOLN CENTER THEATER PRESENTS
JEFF GOLDBLUM & LAURIE METCALF IN
DOMESTICATED
OPENING NIGHT IS MONDAY, NOVEMBER 4
AT THE MITZI E. NEWHOUSE THEATER
A New Play by Bruce Norris
Directed by Anna D. Shapiro
Running Time: 2 hours and 10 minutes, including an intermission
NEW YORK CITY - DOMESTICATED, by Bruce Norris, the Pulitzer- and Tony-winning author of CLYBOURNE PARK, dives into the conflagration of gender, power, sexuality and politics that emerges in a private relationship after a public humiliation. In this prescient new play, Laurie Metcalf and Jeff Goldblum
play Judy and Bill Pulver whose marriage is thrust into the public eye by scandal. As told by Norris, their story is wickedly funny, deeply serious and anything but predictable.In addition to the Tony Award and the Pulitzer Prize for Drama, Bruce Norris won London's Olivier and Evening Standard Awards for CLYBOURNE PARK. His other works include A Parallelogram, The Unmentionables, The Pain and the Itch, We All Went Down To Amsterdam, Purple Heart, and The Infidel.
Anna D. Shapiro directed Bruce Norris's A Parallelogram, The Unmentionables, The Pain and the Itch, Purple Heart and The Infidel. On Broadway, she directed August: Osage County, (Tony Award) and most recently The Motherfucker with the Hat.
Laurie Metcalf has appeared on Broadway in The Other Place and November, receiving Tony nominations for both. Other recent stage credits include the Broadway revival of Brighton Beach Memoirs, and Long Day's Journey Into Night in the West End. She won three Emmy Awards playing Roseanne's sister, Jackie, on the long-running series.Jeff Goldblum's Broadway credits include Seminar and The Pillowman (Outer Critics' Circle Award and Drama Critics' Award). Film credits include Adam Resurrected, Nashville, Jurassic Park, Independence Day, The Big Chill and The Fly. He was nominated for an Academy Award for the live-action short, Little Surprises.
Join us on Thursday, December 19 from 6-6:45pm for a Platform Series event with cast members Laurie Metcalf and Jeff Goldblum. The event is free and will take place in the Vivian Beaumont Lobby. Seating is limited and available on a first-come, first-served basis beginning a half hour before the talk.
Photos by Joan Marcus
- Laurie Metcalf & Jeff Goldblum
- Mia Barron, Lizbeth Mackay, Karen Pttman, Jeff Goldbum and Vanessa Aspillago
- Jeff Goldblum & Laurie Metcalf
Domesticated Cast Members:
Vanessa Aspillaga, Mia Barron, Robin de Jesus, Jeff Goldblum, Lizbeth Mackway, Emily Meade, Laurie Metcalf, Mary Beth Peil, Karen Pittman, Aleque Reid, Misha Seo
Domesticated Creative TeamAuthor: Bruce Norris
Director: Anna D. Shapiro
Producer: Lincoln Center Theater
DOMESTICATED will be performed Tuesday through Saturday evenings at 8pm, with matinees Wednesday and Saturday at 2pm and Sunday at 3pm.
• Please note: there will be no performance on Tuesday, November 5.
• Tickets, priced from $75 to $85, are available at the Lincoln Center Theater box office, at telecharge.com or by visiting
www.lct.org
• A limited number of tickets priced at $30 are available at every performance through LincTix, LCT’s program for 21 to 35 year olds. For information and to enroll, visit LincTix.org.
Music for the Holidays: Royal Conservatory Toronto Concerts for December 2013 & January 2014
From a media release:
THE HOLIDAY SEASON AND THE NEW YEAR AT THE ROYAL CONSERVATORY
Classical, Jazz and Blues in December 2013 and January 2014
TORONTO - Do you have the perfect gift yet?
Whether you live in Toronto or are planning on travelling to Ontario just before or after the holiday season, The Royal Conservatory is the perfect place to take a break from the holiday madness, shop for that person
who has everything, and relax with some beautiful music and getaway packages. To plan the perfect getaway, The Conservatory offers concert/hotel/dining packages in the heart of downtown Toronto. Visitors can enjoy a delicious dinner, a spectacular concert in Koerner Hall, and a relaxing overnight stay with The Conservatory's hotel partners, The Intercontinental Yorkville and the Park Hyatt, both of which are located right across the street from Koerner Hall.
• For a complete list of packages, please visit our website
• Gift Cards can be purchased in person at the Weston Family Box Office, by phone at 416.408.0208, or by visiting www.performance.rcmusic.ca
There are a variety of concerts to choose from in December and January:
La Dolce Musica, a series dedicated to celebrating the rich musical heritage of Italy, continues with John Pizzarelli and Daniela Nardi on December 7 and Luca Pisaroni on January 29. First, The Royal Conservatory celebrates two iconic Italian singers, Frank Sinatra and Paolo Conte, in an evening with singer and guitarist John Pizzarelli paying homage to Frank Sinatra and one of Toronto's hippest singers, Daniela Nardi, singing the Paolo Conte songbook. Rising star Italian bass-baritone Luca Pisaroni (accompanied on the piano by Wolfram Rieger) has already established himself as one of the most captivating and versatile
singers of his generation. Since his debut at the Salzburg Festival at age 26 with the Vienna Philharmonic, he has performed at many of the world's top opera houses and concert halls worldwide. Besides his extensive activities in opera and concert, Pisaroni is an ardent and dedicated recitalist, having performed at Carnegie Hall, the Ravinia Festival, Amsterdam's Concertgebouw, the Edinbrgh Festival, and London's Wigmore Hall. In this recital, he will sing songs by Italian composers Vincenzo Bellini, Stefano Donaudy, and Francesco Paolo Tosti, as well as works by Ludwig van Beethoven, Franz Schubert, and Franz Liszt.
The Regina Carter Quartet and Nnenna Freelon appear as part of TD Jazz: Celebrating Dinah & Sarah concert series on December 14, which pays homage to two great dames of jazz who would have celebrated their 90th birthdays this season, Dinah Washington and Sarah Vaughan. Six-time Grammy Award nominee Nnenna Freelon has also been nominated twice for the 'Lady of Soul'� Soul Train Award, appeared on TV shows The Charlie Rose Show, Weekend Today, and In Performance at the White House, and had a song featured on the hit TV show Mad Men. She appears with the leading jazz violinist of our time, MacArthur "Genius" Fellowship recipient Regina Carter, who reaps praise for her unparalleled ability to integrate the finer elements of jazz, funk, Motown, African, and soul music with an adventurous rhythmic sensibility.
Rising star pianist Kirill Gerstein makes his Conservatory debut on December 8 as part of the Invesco Piano Concerts. The youngest student ever to attend the Berklee College of Music, his early training and experience in jazz has contributed an important element to his interpretive style, inspiring an energetic and expressive musical personality that distinguishes his playing. All will be evident in his program, consisting of Franz Joseph Haydn's Andante with Variations in F Minor, Hob.XVII:6 Un piccolo divertimento; Modest Mussorgsky's Pictures at an Exhibition; Brad Mehldau's Variations on a Melancholy Theme (written for Kirill Gerstein in 2011); György Ligeti: Étude No. 4 “Fanfares” and Étude Arc-en-ciel; and George Gershwin's
Somebody Loves Me and I Got Rhythm� from Seven Virtuoso Etudes after Gershwin (arranged by Earl Wild).
All of Ludwig van Beethoven's Violin Sonatas can be experienced at The Royal Conservatory over the course of four concerts. On January 24, award-winning German violinist Isabelle Faust (accompanied on the piano by Alexander Melnikov) performs: No. 4 in A Minor, Op. 23; No. 9 in A Major, Op. 47, Kreutzer, No. 3 in E-flat Major, Op. 12, No. 3; and No. 10 in G Major, Op. 96, The Cockcrow. Together, Faust and Melnikov boast multiple prize-winning recordings, including a 2010 Grammy Award nomination for their Beethoven Sonatas. The remaining sonatas are performed by Luri Lee with Anton Kuerti on February 23, Leonidas Kavakos with Enrico Pace on February 28, and Sarah Kim on February 14 in a Royal Conservatory Orchestra prelude recital.
Highly acclaimed French coloratura soprano Natalie Dessay, who recently bid farewell to the world of opera to concentrate on theatre, pop, and jazz music, will be joined by French composer, arranger, conductor, and virtuoso jazz and classical pianist Michel Legrand, as well as the Canadian Les Violons du Roy, on two consecutive evenings: December 15 and December 16. These concerts will feature the music of Legrand, who has composed more than 200 film and television scores and several musicals, and has recorded well over 100 albums. Among his most famous are the Oscar-winning Summer of '42, The Thomas Crown Affair, Ice Station Zebra, Yentl, Les Demoiselles de Rochefort (The Young Ladies of Rochefort), and Les Parapluies de Cherbourg (The Umbrellas of Cherbourg). The concerts are presented in association with Attila Glatz Concert Productions.
The remaining two concerts in Koerner Hall include the Sultans of String with the Cathedral Bluffs Symphony Orchestra on December 1, presented in association with Small World Music, and the Maple Blues Awards on January 20, presented in partnership with the Toronto Blues Society. Named Best World Music Group at the 2012 Canadian Folk Music Awards and nominated for a Juno Award, Sultans of String celebrates the
release of their new CD, Symphony!, at this performance with Cathedral Bluffs Symphony Orchestra. The Maple Blues Awards return for the 17th annual celebration of Canada's blues music, featuring the finest guest musicians from across Canada representing the most current blues music on the scene, all backed by the renowned Maple Blues Band. The ceremony and the after party are not to be missed!
Concerts in Mazzoleni Concert Hall, located in historic Ihnatowycz Hall, continue with Barry Shiffman & Friends on January 19. Co-founder of the St. Lawrence String Quartet, Associate Dean of The Glenn Gould School, and Director of the Phil and Eli Taylor Performance Academy for Young Artists, renowned violinist and violist Barry Shiffman will lead a program featuring Brahms' Zwei Gesange and Schumann's Piano Quartet. He is joined by Desmond Hoebig (cello), Benjamin Bowman (violin), Julie Nesrallah (mezzo-soprano), and Peter Longworth (piano). On January 21, Toronto Symphony Orchestra Principal Clarinet Joaquin Valdepeñas conducts The Glenn Gould School Chamber Ensemble. There are also a couple of free offerings coming up featuring students of The Royal Conservatory: string students from the Phil and Eli Taylor Performance Academy for Young Artists come together as the Academy Chamber Orchestra on December 7 and The Glenn Gould School Concerto Competition Finals can be observed in Koerner Hall on December 12.
The Royal Conservatory in December and January
Sultans of String with the Cathedral Bluffs Symphony Orchestra (Music Mix): Sunday, December 1, 2013 at 7 pm | KH; $25-$65
Academy Chamber Orchestra (Discovery Series): Saturday, December 7, 2013 at 7:30 pm | MCH; FREE
Celebrating Frank Sinatra and Paolo Conte with John Pizzarelli and Daniela Nardi (La Dolce Musica; jazz):
Saturday, December 7, 2013 at 8 pm | KH; $45-$85
Kirill Gerstein (Invesco Piano Concerts): Sunday, December 8, 2013 at 3 pm | KH; $35-$80
The GGS Concerto Competition Finals (Discovery Series): Thursday, December 12, 2013 at 10 am | KH; FREE
Regina Carter Quartet and Nnenna Freelon (TD Jazz: Celebrating Dinah & Sarah): Saturday, December 14, 2013 at 8 pm | KH; $40-$80
Natalie Dessay, Michel Legrand & Les Violons du Roy (Vocal Concerts): Sunday, December 15 & Monday, December 16, 2013 at 7 pm | KH; $50-$150
Barry Shiffman & Friends (Mazzoleni Masters): Sunday, January 19, 2014 at 2 pm | MCH; $32
Maple Blues Awards (Music Mix): Monday, January 20, 2014 at 7 pm | KH; $28-$65
Joaquin Valdepeñas Conducts (Discovery Series): Tuesday, January 21, 2013 at 7:30 pm | MCH; $15
Isabelle Faust with Alexander Melnikov (String Concerts; Beethoven Violin Sonatas): Friday, January 24, 2014 at 8 pm | KH; $30-$75
Luca Pisaroni with Wolfram Rieger (Vocal Concerts; La Dolce Musica): Wednesday, January 29, 2014 at 8 pm | KH; $25-$70
Venue Legend: KH Koerner Hall; MCH Mazzoleni Concert Hall in historic Ihnatowycz Hall
Tickets are available online at www.performance.rcmusic.ca, by calling 416.408.0208, or in person at the Weston Family Box Office
THE HOLIDAY SEASON AND THE NEW YEAR AT THE ROYAL CONSERVATORY
Classical, Jazz and Blues in December 2013 and January 2014
TORONTO - Do you have the perfect gift yet?
Whether you live in Toronto or are planning on travelling to Ontario just before or after the holiday season, The Royal Conservatory is the perfect place to take a break from the holiday madness, shop for that person
who has everything, and relax with some beautiful music and getaway packages. To plan the perfect getaway, The Conservatory offers concert/hotel/dining packages in the heart of downtown Toronto. Visitors can enjoy a delicious dinner, a spectacular concert in Koerner Hall, and a relaxing overnight stay with The Conservatory's hotel partners, The Intercontinental Yorkville and the Park Hyatt, both of which are located right across the street from Koerner Hall. • For a complete list of packages, please visit our website
• Gift Cards can be purchased in person at the Weston Family Box Office, by phone at 416.408.0208, or by visiting www.performance.rcmusic.ca
There are a variety of concerts to choose from in December and January:
La Dolce Musica, a series dedicated to celebrating the rich musical heritage of Italy, continues with John Pizzarelli and Daniela Nardi on December 7 and Luca Pisaroni on January 29. First, The Royal Conservatory celebrates two iconic Italian singers, Frank Sinatra and Paolo Conte, in an evening with singer and guitarist John Pizzarelli paying homage to Frank Sinatra and one of Toronto's hippest singers, Daniela Nardi, singing the Paolo Conte songbook. Rising star Italian bass-baritone Luca Pisaroni (accompanied on the piano by Wolfram Rieger) has already established himself as one of the most captivating and versatile
singers of his generation. Since his debut at the Salzburg Festival at age 26 with the Vienna Philharmonic, he has performed at many of the world's top opera houses and concert halls worldwide. Besides his extensive activities in opera and concert, Pisaroni is an ardent and dedicated recitalist, having performed at Carnegie Hall, the Ravinia Festival, Amsterdam's Concertgebouw, the Edinbrgh Festival, and London's Wigmore Hall. In this recital, he will sing songs by Italian composers Vincenzo Bellini, Stefano Donaudy, and Francesco Paolo Tosti, as well as works by Ludwig van Beethoven, Franz Schubert, and Franz Liszt.The Regina Carter Quartet and Nnenna Freelon appear as part of TD Jazz: Celebrating Dinah & Sarah concert series on December 14, which pays homage to two great dames of jazz who would have celebrated their 90th birthdays this season, Dinah Washington and Sarah Vaughan. Six-time Grammy Award nominee Nnenna Freelon has also been nominated twice for the 'Lady of Soul'� Soul Train Award, appeared on TV shows The Charlie Rose Show, Weekend Today, and In Performance at the White House, and had a song featured on the hit TV show Mad Men. She appears with the leading jazz violinist of our time, MacArthur "Genius" Fellowship recipient Regina Carter, who reaps praise for her unparalleled ability to integrate the finer elements of jazz, funk, Motown, African, and soul music with an adventurous rhythmic sensibility.
Rising star pianist Kirill Gerstein makes his Conservatory debut on December 8 as part of the Invesco Piano Concerts. The youngest student ever to attend the Berklee College of Music, his early training and experience in jazz has contributed an important element to his interpretive style, inspiring an energetic and expressive musical personality that distinguishes his playing. All will be evident in his program, consisting of Franz Joseph Haydn's Andante with Variations in F Minor, Hob.XVII:6 Un piccolo divertimento; Modest Mussorgsky's Pictures at an Exhibition; Brad Mehldau's Variations on a Melancholy Theme (written for Kirill Gerstein in 2011); György Ligeti: Étude No. 4 “Fanfares” and Étude Arc-en-ciel; and George Gershwin's
Somebody Loves Me and I Got Rhythm� from Seven Virtuoso Etudes after Gershwin (arranged by Earl Wild). All of Ludwig van Beethoven's Violin Sonatas can be experienced at The Royal Conservatory over the course of four concerts. On January 24, award-winning German violinist Isabelle Faust (accompanied on the piano by Alexander Melnikov) performs: No. 4 in A Minor, Op. 23; No. 9 in A Major, Op. 47, Kreutzer, No. 3 in E-flat Major, Op. 12, No. 3; and No. 10 in G Major, Op. 96, The Cockcrow. Together, Faust and Melnikov boast multiple prize-winning recordings, including a 2010 Grammy Award nomination for their Beethoven Sonatas. The remaining sonatas are performed by Luri Lee with Anton Kuerti on February 23, Leonidas Kavakos with Enrico Pace on February 28, and Sarah Kim on February 14 in a Royal Conservatory Orchestra prelude recital.
Highly acclaimed French coloratura soprano Natalie Dessay, who recently bid farewell to the world of opera to concentrate on theatre, pop, and jazz music, will be joined by French composer, arranger, conductor, and virtuoso jazz and classical pianist Michel Legrand, as well as the Canadian Les Violons du Roy, on two consecutive evenings: December 15 and December 16. These concerts will feature the music of Legrand, who has composed more than 200 film and television scores and several musicals, and has recorded well over 100 albums. Among his most famous are the Oscar-winning Summer of '42, The Thomas Crown Affair, Ice Station Zebra, Yentl, Les Demoiselles de Rochefort (The Young Ladies of Rochefort), and Les Parapluies de Cherbourg (The Umbrellas of Cherbourg). The concerts are presented in association with Attila Glatz Concert Productions.
The remaining two concerts in Koerner Hall include the Sultans of String with the Cathedral Bluffs Symphony Orchestra on December 1, presented in association with Small World Music, and the Maple Blues Awards on January 20, presented in partnership with the Toronto Blues Society. Named Best World Music Group at the 2012 Canadian Folk Music Awards and nominated for a Juno Award, Sultans of String celebrates the
release of their new CD, Symphony!, at this performance with Cathedral Bluffs Symphony Orchestra. The Maple Blues Awards return for the 17th annual celebration of Canada's blues music, featuring the finest guest musicians from across Canada representing the most current blues music on the scene, all backed by the renowned Maple Blues Band. The ceremony and the after party are not to be missed!Concerts in Mazzoleni Concert Hall, located in historic Ihnatowycz Hall, continue with Barry Shiffman & Friends on January 19. Co-founder of the St. Lawrence String Quartet, Associate Dean of The Glenn Gould School, and Director of the Phil and Eli Taylor Performance Academy for Young Artists, renowned violinist and violist Barry Shiffman will lead a program featuring Brahms' Zwei Gesange and Schumann's Piano Quartet. He is joined by Desmond Hoebig (cello), Benjamin Bowman (violin), Julie Nesrallah (mezzo-soprano), and Peter Longworth (piano). On January 21, Toronto Symphony Orchestra Principal Clarinet Joaquin Valdepeñas conducts The Glenn Gould School Chamber Ensemble. There are also a couple of free offerings coming up featuring students of The Royal Conservatory: string students from the Phil and Eli Taylor Performance Academy for Young Artists come together as the Academy Chamber Orchestra on December 7 and The Glenn Gould School Concerto Competition Finals can be observed in Koerner Hall on December 12.
The Royal Conservatory in December and January
Sultans of String with the Cathedral Bluffs Symphony Orchestra (Music Mix): Sunday, December 1, 2013 at 7 pm | KH; $25-$65
Academy Chamber Orchestra (Discovery Series): Saturday, December 7, 2013 at 7:30 pm | MCH; FREE
Celebrating Frank Sinatra and Paolo Conte with John Pizzarelli and Daniela Nardi (La Dolce Musica; jazz):
Saturday, December 7, 2013 at 8 pm | KH; $45-$85Kirill Gerstein (Invesco Piano Concerts): Sunday, December 8, 2013 at 3 pm | KH; $35-$80
The GGS Concerto Competition Finals (Discovery Series): Thursday, December 12, 2013 at 10 am | KH; FREE
Regina Carter Quartet and Nnenna Freelon (TD Jazz: Celebrating Dinah & Sarah): Saturday, December 14, 2013 at 8 pm | KH; $40-$80
Natalie Dessay, Michel Legrand & Les Violons du Roy (Vocal Concerts): Sunday, December 15 & Monday, December 16, 2013 at 7 pm | KH; $50-$150
Barry Shiffman & Friends (Mazzoleni Masters): Sunday, January 19, 2014 at 2 pm | MCH; $32
Maple Blues Awards (Music Mix): Monday, January 20, 2014 at 7 pm | KH; $28-$65
Joaquin Valdepeñas Conducts (Discovery Series): Tuesday, January 21, 2013 at 7:30 pm | MCH; $15
Isabelle Faust with Alexander Melnikov (String Concerts; Beethoven Violin Sonatas): Friday, January 24, 2014 at 8 pm | KH; $30-$75
Luca Pisaroni with Wolfram Rieger (Vocal Concerts; La Dolce Musica): Wednesday, January 29, 2014 at 8 pm | KH; $25-$70
Venue Legend: KH Koerner Hall; MCH Mazzoleni Concert Hall in historic Ihnatowycz Hall
Tickets are available online at www.performance.rcmusic.ca, by calling 416.408.0208, or in person at the Weston Family Box Office
October 30, 2013
The Rosedale Winds in Concert November 9 2013 in Toronto
From a media release:
The Rosedale Winds blow into Canadian Music Centre with their first concert of the 2013/2014 Season
Saturday, November 9, 2013
3 pm Canadian Music Centre (20 St. Joseph Street, Toronto)
Tickets: $20 Regular (Includes a drink) - Available at the door
Toronto, ON – The young, fresh, and vibrant Rosedale Winds specialize in innovative concerts that showcase a wide array of classical music and intrigue audiences of all ages. For this upcoming concert, the
Rosedale Winds present exciting music in a convivial atmosphere. Taking place at the Canadian Music Centre’s intimate performance venue in downtown Toronto, the event will engage your mind with the composer’s cultural expressions.In this program, the Rosedale Winds present music inspired by popular literature such as Gabriel Garcias Marquez’s 100 years of Solitude and Ambrose Bierce's Devil’s Dictionary. The program features Canadian composers, Wolfgang Heinz Otto Bottenberg, Toronto’s own Gary Kulesha, and American composer, Judai Adashi.
In addition, the program will include Judai Adashi’s Songs and Dances of Macondo accompanying excerpts of text from 100 Years of Solitude to give you a unique perspective on the widely acclaimed novel in a special musical setting. The Rosedale Winds are also going to play one of Canada’s most celebrated chamber works, Bagatelles from the Devil’s Dictionary for Woodwind Quintet. In this piece, Kulesha musically depicts Bierce’s witty definitions from The Devil’s Dictionary, such as dictator, idiot and cynic. Come take a glimpse into the modern composer’s view of the culture around us.
ROSEDALE WINDSSarah Yunji Moon - Flute
Marc Gibbons - Oboe
Mara Plotkin - Clarinet
Alicia Bots - Bassoon
Iris Krizmanic – Horn
ABOUT ROSEDALE WINDS
The Rosedale Winds, Toronto’s new dynamic woodwind quintet comprises five enthusiastic young professionals. The Rosedale Winds formed at the National Academy Orchestra of the Brott Music Festival in 2012. Our mission is to explore and expand contemporary woodwind quintet repertoire by collaborative projects, commissioning new works, and educational outreach. The Rosedale Winds believe in enthusiastic communication between the performers and the audience. We strongly support Canadian composers by actively programming their music in our concert events.
Our goal for the 2013-2014 concert season is to promote the hidden gems of Canadian contemporary wind quintet music that are audience accessible, witty and creative. We present our concert with the generous support of the Toronto Arts Council and SOCAN foundation.
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