The Megaphone – Liz Parker's Blog

Music at Sharon Co-Artistic Directors, Rick Phillips and Larry Beckwith

I went on a field trip yesterday!!  I looove field trips.

I went with Rick Phillips, who was one of my favourite things about CBC Radio, before Sound Advice was sadly/horrifically/tragically taken off-air.  Without fail, I’d tune in to listen to Rick’s take on the latest recordings, and always try and guess how many stars he’d assign, out of five.  (My mother, who seems to recall every music theory mark her students ever received, distinctly recalls Rick giving the Gryphon Trio five stars).

I also met Larry Beckwith, Artistic Director of Toronto Masque Theatre, violinist, and music teacher at Unionville High School. Anybody who teaches music is in my good books!  Rick and Larry are the new Co-Artistic Directors of the Music at Sharon Festival.

Rick Phillips, moi, and Larry Beckwith inside Sharon Temple

Yesterday we travelled up to Newmarket to sit in on a church service to meet the community and tell them about the festival, happening at nearby Sharon Temple.  Rick and Larry sang in the choir, and Larry and played violin with church pianist and music teacher, Bob Leonard.  All I can say is I behaved myself during the whole service!

Choir members look so innocent.

Larry Beckwith and Bob Leonard in action.

After the service, Rick and Larry met with the congregation and talked about the festival coming up:

June 6: The gorgeous Wallis Giunta, mezzo-soprano, in recital with pianist Stephen Philcox.

June 13: Ensemble Polaris featuring the music of cold countries, including Canada!

June 20: Tokai String Quartet;  pianist Anton Kuerti joins in for Schumann’s Piano Quintet in Eb (the kind of piece that makes you feel thrilled to be alive).

June 27: Alexander Seredenko, piano superwhiz, in a solo recital.  Includes Chopin’s Four Scherzi.

July 4: Les Voix Baroques featuring Baroque composers Crissimi and Cherpentier.  Artistic Director and countertenor Matthew White (who loves beer and nachos after Messiah gigs) appears with Toronto hot soprano Shannon Mercer and harpsichordist Alex Weimann.

All performers are encouraged to make the most use of the temples amazing acoustics.  The set up is “egalitarian” in that there is no altar, per se; it’s square-shaped inside, with this big, squat cabinet in the middle where a large book rests (the Bible presumably) on a bit chaise cushion thing (where personally I’d like to drape myself).

Rick, Larry and I walked around, seeing where patrons would picnic pre-concert, and meet the artists post.  I read up on David Willson, the founder of a brief religious sect that lead to the building of the temple in the early 1800’s.  He was kicked out by the Quakers for his focus on music (any music-loving rebel is all right!), and formed his own group, the Children of Peace.  When I first heard this, I thought of a weird California cult or some plural marriage society or something.  I relaxed when I leard the Children of Peace – “Davidites” – focus on ceremony (an occasion to dress up! ), music, and practical education.  Sounds good to me.  There was also some focus on the mysticism of the Quakers, which also appeals to this west coast-raised gal.

The small study (or re-creation of) where David Willson read, thought, pondered ...

If you want to escape the city and check out some beautiful music, here’s what you need to know:

Sharon Temple is a beautiful National Historic Site located just north of Newmarket.  An intimate 230-seat venue, the Sharon Temple is renowned for its acoustics, architectural ambience, and the serene beauty of the surroundings.

Directions to 18974 Leslie Street, Sharon, Ontario: Take Highway 404 north to its end.  Turn left (west) on Green Lane for 1 km.  Turn right (north) on Leslie for 2 km.

The Sharon Temple is on the west side.  There is ample free parking.

General admission tickets: 416 872 4255, or online at www.roythomson.com.

$45-$35 or $165 for a 5-concert subscription.

See you there!

I’ll be honest.

Opera is not one of my favourite art forms.  I’m a major piano fan, a concerto fan, a symphony fan …. when I was little, I thought opera was all about overweight people caterwauling in absurd outfits.  I would hear arias blasting from my mother’s studio downstairs – she would have been teaching History IV from the Royal Conservatory curriculum …. and I still wasn’t convinced.  Over time, I became more open-minded – I have memories of folding laundry with my mom on Saturday evenings as a kid, while watching “Live from the Met” on PBS, and if my dad wasn’t listening to the entire Beethoven Piano Sonata cycles on his earphones in the living room, we’d hear the whole opera simulcast on stereo – and it had to be cranked, because the TV was way over in my parents’ bedroom.

I began to understand, by the intense audience response, and my mother’s rapt attention that made the folding fly by, that opera means a lot to many people. I never heard such hysteria at classical concerts from the blue-rinse crowd, that’s for sure.

And then along came Moonstruck.  I don’t remember if I saw it in the theatre – all I remember is Cher’s crazy Bob Mackie dress when she accepted her Oscar, and that she was going for pizza afterwards at Spago’s.  I remember thinking it was a nice romantic comedy featuring Puccini’s music.

But something happened around eight years ago – I was living up at Yonge and Eglinton, not loving it, and feeling lonely and bored on a rare Saturday night at home.  Bravo! television was broadcasting Moonstruck and I caught the opening credits.  ”What the hell,” I thought.  ”I seem to recall liking this movie.”

Well, little did I know that this film would become my most favourite film of all time, and little did I know it would ignite my interest in opera.  Of all the opera masters, I’d always liked the “heart on my sleeve, I’m gonna sing it ‘cuz I’m about to dramatically die” stylings of Puccini.  And I loved the story of La Boheme – the whole starving artist in the garret thing seemed so romantic.

I was so caught up in the storyline this time around, that I had a VERY STRONG REACTION when Ronny said the following to Loretta – truly, a beautiful “aria” in spoken form:

“Loretta, I love you. Not like they told you love is, and I didn’t know this either, but love don’t make things nice – it ruins everything.  It breaks your heart.  It makes things a mess.  We aren’t here to make things perfect.  The snowflakes are perfect.  The stars are perfect.  Not us.  Not us!  We are here to ruin ourselves and to break our hearts and love the wrong people and *die*. The storybooks are bullshit.  Now I want you to come upstairs with me and GET(!!!!!) in my bed!”

Tears were streaming down my face as I jumped up and down and screamed, clapping my hands.  I realise I shouldn’t be admitting this openly, but I don’t care.

And this isn’t even counting my obsession with makeovers, and the glee I took in watching Loretta transform from a fuddy-duddy widow to a smokin’ hot babe as she prepares for her date with Ronny.

Something in me clicked that night – that opera has the ability to magically transform people, and induce the same hysteria I felt listening to Ronny profess his undying love for Loretta.  Opera is a personal art form – straight from the heart – as the person IS the instrument.  There is nothing in between the singer and the music.  The singer and music are one.  That is something not possible as a pianist.

My good friend Ali Kashani, who knows more about opera than anybody in the world, boldly declares on his Facebook profile  that he is “using the power of opera to change the world!”  I understand his mantra now.

I will attend Dmitri Hvorostovsky and Sondra Radvanovsky’s concert coming up because it is billed as “An Italian Opera Spectacular”, and Iwant to re-capture that Moonstruck feeling.  Sondra Radvanosky’s star has just risen – and there’s buzz about this amazing soprano who is making her Toronto debut.  And Dima of course, is a rock star in the opera world; he’s as known for his sex appeal as he is his incredible voice and artistry.  I first met him 15 years ago for interview rounds when I was the Vancouver Symphony publicist.  I was kinda shy around him, and refused when he asked me, upon hearing I was studying flamenco,  to dance for him.

While I’m still a die-hard concerto gal, I’m very grateful for Loretta and Ronny for re-introducing me to opera.  And I look forward to being “moonstruck” on March 20th.

Dmitri Hvorostovsky and Sondra Radvanovsky will appear in an “Italian Opera Spectacular” with the Orchestre de la Francophonie conducted by Constantine Orbelian and Jean-Philippe Tremblay on Saturday, March 20 at 8 PM at Roy Thomson Hall.  Liz is fretting about what to wear. For more info, please visit www.roythomson.com or www.showoneproductions.com.

….from astonishing-precocious child star to a fully seasoned, mature performer.  And this is not always easy to do: I’ve seen and heard plenty of stories (growing up in the music word) about child prodigies who can’t cope with the pressure of becoming adult musicians.  Sarah Chang seems to have made the transition seamlessly.

When I first heard of her, she looked something like this:

Totally adorable.  Then I was doing PR for the Vancouver Symphony, and was sent a press kit of her looking like this:

Like, whoa!  As a teen, she seemed to babify overnight.  And her sound deepened, matured, and she played with an assuredness that had nothing to do with fearless youth, but of someone who had the chops.

Now, her PR stills are looking positively editorial:

It’s a wonderful thing when someone as gifted as Sarah succeeds with the transition to adulthood, both as a performer and someone who understands the importance of image.  They say image isn’t everything – but someone devoid of what works in that realm will hinder her own ability to forge ahead, even with a large talent.  And of course, an artist who is image-conscious without talent won’t progress either – at least, not for long.

Sarah Chang performs at Markham Theatre in recital with pianist Andrew von Oeyen.  This is their only Canadian visit this season. They will perform Brahms’ Sonatensatz and Sonata No.  3; Fantasy by Christopher Theofanidis; and Franck’s Sonata in A+.  Tickets are $49 – $69.  905 305 SHOW (7469)  or visit www.markhamtheatre.ca.

See you there!

Michael Maniaci is hilarious.  He’s very animated, outgoing, and offers up plenty of enjoyable conversation.  I first met him in the fall of 2009 to discuss his album, “Mozart: Arias forMale Soprano” (Telarc).   When I’ve talked about his album to friends, even my “music friends” ask what the deal is with his voice.  ”Is he a countertenor?” they ask.  ”No.”  ”And he’s a GUY, right?” “Yes.”  ”Did he have his -” “No,” I quickly answer.   For whatever reason, his voice didn’t “break” in the usual manner when he was a teenager.

What’s amazing is he was blessed with a serious musical gift to make the very best out of his unusual voice – which is as high as a soprano (he has a high C) but with the strength and power of a man.   He’s as close to sounding like the castrato of an era gone by.   To see Michael explain, please visit:

http://www.youtube.com/watch?v=E2liGFJFuGk

This CD, recorded with Boston Baroque under its founding maestro, Martin Pearlman, is Michael’s debut recording.  It’s on the Telarc label, and is available in Canada and the US on Tuesday, January 26th.

I’ll keep you posted on future visits to Toronto.  And you bet when Michael’s in town, he can be spotted chowing down on Fune’s Mountain Rolls with me in tow.