Apollo's Fire (Cleveland Baroque)
Choeur St. Laurent
Clavecin en concert
Colours of Music Festival
Continuum Contemporary Music
Early Music Vancouver
Festival Baroque Montreal
Festival of the Sound
Guelph Chamber Choir
I Musici de Montreal
Jeunesses Musicales du Canada
L'Opera de Montreal
L'Opera de Quebec
National Arts Centre Orchestra
Niagara Symphony Orchestra
Opera in Concert
Orchestre symphonique de Laval
Orchestre symphonique de Montreal
Opera Lyra Ottawa
Ottawa Choral Society
Pacific Opera Victoria
Palm Beach Opera
Queen of Puddings Music Theatre
Studio de musique ancienne de Montreal
Symphony New Brunswick
Symphony Nova Scotia
Tapestry New Opera Works
Thunder Bay Symphony
Toronto Masque Theatre
Vancouver Bach Choir
Westben Concerts at the Barn
Like a lighthouse beckoning us to safer shores, spring is finally appearing here in wintry Toronto. We endured frozen water pipes and power outages, as the city coped with record-breaking temperatures in February.
We are delighted to hear icicles dripping and see snowdrifts replaced by puddles.
Domoney Artists welcome the season with a great range of performances, with Daniel Cabena singing Messiah in Switzerland, Benjamin Covey singing Mozart in Kitchener, Scott Belluz in Bach's St. John Passion with Grand River Chorus and Daniel Lichti singing Bach Cantatas with Spiritus Ensemble.
Rehearsals begin soon for Edmonton Opera's Lucia di Lammermoor, featuring Adam Fisher as Normanno with Giles Tomkins debuting with the company in the role of Raimondo, his second this season. Both singers head to Vancouver Bach Choir as soloists in Mendelssohn's Elijah, with Leslie Dala conducting.
News for next season continues to be announced, be sure to follow us on Twitter and Facebook to see what's next!
Follow our roster news with Director's Notes, where the spotlight is on the Stars of Domoney Artists Management. Here you will find special features on this wonderful group of Classical Singers, Orchestral and Opera Conductors and Stage Directors. Read about their passions, hobbies, dream opera roles and more.
Mar 26 & 27 Benjamin Covey is a guest artist in “The Mozart Phenomenon” with Kitchener-Waterloo Symphony, singing Felsen, Spaltet Euren Rachen from Mozart’s Grabmusik; Edwin Outwater, conductor www.kwsymphony.ca
"Conductor Leslie Dala aka Les Dala is especially well-known out west, having conducted at the Vancouver Opera, Pacific Opera Victoria and Vancouver Bach Choir, at Banff Centre and UBC Opera Ensemble."
Leslie Dala on Postcard from Morocco, Julie, and his conducting bucket list
"Canadian conductor Leslie Dala is currently in Toronto to lead two casts of students at the University of Toronto in their upcoming production of Dominick Argento’s Postcard from Morocco. Dala is a busy guy, as Music Director of the Vancouver Bach Choir, Principal Conductor of the Vancouver Academy of Music, and Associate Conductor and Chorus Master of Vancouver Opera."
Baritone Dion Mazerolle has a busy spring ahead. I caught up to Dion as he prepares for Charpentier’s Louise with Voicebox/Opera in Concert on March 29 to see what’s on the horizon.
You have created new roles in opera, (Le reve de Gregoire with Chants Libres, Evangeline) how do you prepare a role in a “standard” opera like Louise? How is it different from learning a brand new opera? Do you listen to recordings?
In the past year, I've been very fortunate to be part of the creative process, bringing new roles from the workshop stage to a fully-realized performance. The creative process is very exploratory which I really do like. Also to have the luxury of working with a living composer is something very rare for performers. The great thing about preparing works that have been performed a number of times, it is possible to find audio and video recording to hear what other singers have done in the past. When I work on "standard opera" like Louise, I explore many different versions to feed my personal creative process, to contrast and compare and then distill into my own.
In Louise, you sing the role of the Father and you have also sung the role of Germont Pere in La Traviata. How are these roles similar or different? What is the Father’s relationship to Louise?
There are certain similarities in Germont from La Traviata and the Father from Louise. They are both driven by family pride and both fathers must deal with children who are in relationships which they cannot condone. Where they differ is that, in Louise, you see the absolute love that he has for his daughter during Act One. He is truly happy with his home life with his wife and daughter. Parental approval is very important during this time but Louise runs away to live in sin with Julien, the artist. The loss of his daughter really destroys the father and she is asked to come back home because he is really sick and could be dying. For Germont, the confrontation with Violetta is mostly about keeping up appearances within a certain social standing as she is a courtesan, but with Louise's father, he seems genuinely sad at the loss of his daughter.
Voicebox/Opera in Concert presents operas without costume or staging. What are some of the challenges of this format of singing opera?
This is my second experience with Opera in Concert after Britten's Gloriana, so as a performer, I know what to expect. Louise is most famous for the beautiful aria "Depuis le jour".
Gustave Charpentier was a student of Massenet, the famed composer of Manon, Thaïs and Werther. A french example of Verismo style, Louise tugs at the heartstrings by its dramatic drive. As a perfomer, I think that it is our job to bring these characters to life within the music, combining true intention and interactions on stage even with minimal movement or sets on stage.
Looking ahead, you are singing selections from Vaughan Williams’ “Songs of Travel” with North Bay Symphony in April, as well as Beethoven's Ninth Symphony. Tell us something about the appeal of these songs; what do you especially love about them?
I am excited to be singing the famous Beethoven Ninth Symphony for the first time, but I have sung Vaughan Williams' "Songs of Travel” several times. I always find it wonderful to revisit repertoire. It's like visiting close family, memories come to mind but also we have to catch up and find out what is new. Our life experiences always inform our performances, especially when we do major cycles like Schubert's Winterreise, Schumann's Dichterliebe or Faure's La bonne chanson. I like to think it is like a fine wine that gets better with age.
In June, you sing the Four Villains in Les Contes d’Hoffmann with Opera Theatre de Rimouski. It's not your first time singing these characters, so how do you approach evil? How do you create a villain? Is it a vocal thing, or more physical, or both?
I am very happy to also be revisiting the Four Villains. About 10 years ago, I was lucky enough to win a Montreal competition that brought me to Czech Republic and Romania to prepare the Villains. Then, I performed the roles in Romania, German. France, Austria and Switzerland with the touring Brasov State Opera.
The villains are different facets of evil. Creating a villain is as much a vocal as a physical thing. But it also depends on the direction that the staging might take. The Docteur Miracle character from Hoffmann that I sang on tour was physically modelled after the old Nosferatu film. I found his stance and certain movements during the film otherworldly and creepy which were a great fit for the character of Docteur Miracle. I do think the vocal evil comes through the musical lines that Offenbach wrote and we must use the music to our advantage for the vocal drive of the character.
You will be singing Messiah with Lameque Baroque Festival near your hometown, in July. Tell us what you are most looking forward to when you are in New Brunswick this summer?
I am very happy to be coming back to my native New Brunswick in July to sing the Messiah, with Ivars Taurins conducting. I am really looking forward to visiting my family who live a few hours south of Lameque. My parents and my 101 year old Grandmother are looking forward to my visit too, since we have only been in touch via Skype for the last 3 years. I will certainly go to the Gallant restaurant in my hometown of Rogersville to have some Brussel Sprouts in cheese sauce and Fricot made by my mother!
Dion Mazerolle is looking forward his mother’s Fricot (a stew of chicken, potatoes and carrots with dumplings) this summer. Do you know which famous Acadian dessert Dion can’t wait to taste?
Watch for the answer in next month's Director's Notes!
LAST MONTH'S ANSWER
Opera kids - these cute tots met backstage as their parents were singing in Pacific Opera Victoria’s Lucia di Lammermoor. On the left is Benji (son of Giles Tomkins and Kathryn Tremills), holding hands with Paloma (daughter of Ernesto Ramirez and Michelle Bodganowicz).
ABOUT DOMONEY ARTISTS
As Director of Domoney Artists Management, Kathy Domoney brings her wealth of knowledge and experience to this position after more than 20 years as a lyric soprano.
Established in 2008, Domoney Artists Management proudly presents their 2014-15 roster of Classical Singers, Orchestral and Opera Conductors, and Stage Directors to audiences throughout Canada and beyond. It is a great pleasure to announce that acclaimed Bass-baritone Daniel Lichti now joins this prestigious roster of established and emerging artists.
ANNOUNCEMENT Assessment Auditions for singers with Director of Domoney Artists Management, Kathy Domoney
April 30 & May 1, 2015
Send your materials (resume, bio, reviews, upcoming engagements and headshot), including your audition repertoire (opera aria, oratorio selection, art song or Operetta/ Musical Theatre) to email@example.com.
Deadline April 10 at 5pm.
Selected singers will be notified by April 17th.
A pianist will be provided. Each 15 minute audition includes a written assessment.