With no end in sight to the crushing effects of the pandemic on the seasons of performing arts presenters, on the livelihoods of artists, or on the spirits of audiences, the WMCT is still optimistic. Supported by the engagement of our members, the generosity of our donors, and the backing of the WMCT Foundation, the volunteer Board firmly intends to deliver an exceptional chamber music experience for the 123rd time. MORE….
Conductor Victor Feldbrill died on June 17, 2020, aged 96. He was a great friend of the WMCT, an honorary advisor, and several times a juror for the Career Development Award. In May 2013 he was guest speaker at a Club Lunch. For News & Notes no. 48, then president Annette Sanger interviewed Maestro Feldbrill and summarized his talk.
WMCT member John Beckwith remembers: “Victor and I were fellow music students in Toronto seventy years ago. He was noted as a champion of Canadian composers and I can testify to that: he conducted the premiere of my first orchestral composition around 1950 and some time in the early 2000s he conducted the premiere of what is likely to be my last, with several other titles in between. He was a versatile and technically brilliant musician and in his long career he participated decisively in the development of the Winnipeg, Hamilton, and Toronto symphony orchestras, the University of Toronto student orchestra, and an orchestra of retiree professionals which he formed during his own retirement – this in addition to numerous guest appearances, notably during his extensive stay in Japan in the 1980s. I will remember him fondly and with much admiration.”
Covid-19 has affected every feature of life in Toronto. All levels of our governments have mobilized resources to meet the threats of the pandemic. Remarkably, most citizens have found within themselves the strength required to live within unprecedented restrictions. Many in the arts community have offered virtual gifts of music, dance, and theatre.
The Women’s Musical Club of Toronto faces its first experience of concert cancellations since World War II. Thank you to members who were able to make donations of their tickets to the April and May concerts. Receipts will be issued a little later in the year. Even more thanks to those who have subscribed to next season, our 123rd.
Members, volunteers, Artistic Director Simon Fryer, and our invaluable Arts Administrator, Shannon Perreault constitute an arts organization built to survive and thrive. We are actively working to find ways to present the “virtuosity, variety, and vitality” of live chamber music in the future. We will keep you posted on developments and stay in contact electronically.
Board members in happier times.
We understand that the virus has had a financial impact, and that a subscription or donation may not be possible for many of you at the moment.
We also remind you that we are not only a performing arts organization, but also a club. If you are in need of support during this crisis, let us know: if we can’t help directly we can put you in touch with local resources who can. And we are happy to connect with you and have you connect with us.
Jamie Parker delivered a sensational “Tuning Your Mind” lecture before the Trio Fibonacci concert last October. Recently he shared his pandemic project with the CBC. For his less tasteful but equally hilarious responses to life at the moment, check out the reports from the PNN (Parker News Network) on his Facebook page.
With desktop publishing software locked up in our locked-down office on Adelaide Street, this is an alternative to our usual spring newsletter.
The Women’s Musical Club of Toronto is an organization that thrives on our sociable gatherings around and in support of chamber music performance. With concert production suspended by the pan(dem)ic, the Club will still aim for social cohesion, despite physical distancing. We are all missing the music and each other. Look after yourselves and reach out to others. We’ll be in touch.
From the President For the spring newsletter, my planned topic was “Philanthropy.” The Canadian Oxford Dictionary defines it as “A love of humankind; the disposition or effort to promote the happiness and well-being of one’s fellow people; especially by gifts of money.” That last phrase of the definition reminds me to thank you for your generous contributions to our fall appeal and ask you to please subscribe to the newly-announced 123rd season.
But now, it’s time to show your love of humankind by keeping rather than giving: keep your distance; keep only your own immediate needs in your shopping basket; keep your coughs to yourself; keep a diary; keep in touch with those whose support you need, or who need yours. -Kathleen McMorrow
You usually pick up this marvellous monthly magazine of Toronto and area concert listings, features, and reviews at your favourite music performance venues.
Local Content: Songbook X with Kristina Szabo and Chris Foley from Tapestry Opera. Witch on Thin Ice, from Confluence Concerts, featuring our (cancelled) April 2 concert star, Bev Johnston. Start this about the 7:00 mark. Tafelmusik has its own YouTube channel with current clips and older concerts. Toronto Arts Council list of virtual and innovative programs
As part of the effort to slow the spread of the pandemic, but with great regret, the WMCT has cancelled both our April 2 concert, Beverley Johnston & Friends, and Blake Pouliot‘s violin recital on May 7. If possible we will present these wonderful events some time in the future. We will miss the music, the cookies, and the companionship. Thanks to our members and friends for your understanding. We wish you all a safe and healthy next several weeks.
The Women’s Musical Club of Toronto and its Foundation mourn the death on December 11, 2019 of one of its Great Women.
President from the 108th to 110th seasons, member and supporter for many years, Emmy made major contributions of time and talent to the festivities of the centennial celebrations of 1997-98, which included the first Career Development Award, and the gala concert whose financial success resulted in the establishment of the Foundation.
Our condolences go to the family, already grieving the loss of Emmy’s husband Walter earlier this year.
The Parker Prize is given to “a musician…under the age of 32 who demonstrates outstanding… artistic excellence and who makes a valuable contribution to artistic life in Canada and internationally.” In 2018 the Parker Prize went to violinist Blake Pouliot, our current CDA winner!
Want to know how many sopranos have performed at Music in the Afternoon? Or how many times they have sung songs by Roger Quilter? Famous players from Wanda Landowska to Murray Perahia who have made their Canadian Debuts? All the venues the WMCT has used since 1899?
Download the Feuerriegels’ updated Concert History, with information through the last concert of the abbreviated 122nd season.
Liz Upchurch, pianist, collaborates with Jane Archibald at Music in the Afternoon on November 14, 2019. At a November 4 gala she received a “Ruby” award from Opera Canada for her outstanding contributions to the Canadian opera community. Here is her speech from that evening, sharing her life story, recently posted for Canadian Opera Company subscribers in Issue 13 of NOTES.
A CANADIAN MIRACLE by Liz Upchurch
It was Schubert lieder that lured me to the Canadian Rocky Mountains in the early ‘90s. It was there, in a summer program at the Banff Centre, that two truly remarkable things happened: I met a man who was to become my musical mentor, Martin Isepp. As he had done for so many artists before and after me, he seemed to hold the magical key to unlocking the secrets not only of art song but opera as well. Thanks to him, I was officially hooked on opera.That summer I also met a young Canadian woman, a brilliant theatre director, who was to become the love of my life. There was only one problem. She was Canadian and I was British. Where could we live? We spent the first few years trying to see each other whenever humanly or financially possible. After a while, it was clear that we wanted and needed to be in the same place. My newfound passion for opera seemed to offer my career extraordinary opportunities, whereas my love as an English person for a Canadian was filled with political obstacles too big to overcome. We tried finding ways to live together in my hometown of London, England. There I was establishing a career as a soloist, chamber musician and répétiteur. Unfortunately, British Immigration had other plans. They decided Jen absolutely had to leave the UK – without the possibility of return. Overnight we went from a world filled with hopes to the horrible realization that we didn’t have a country to live in that would accept us as a couple. What on earth were we going to do? Where would we go? We were given five weeks until Jen had to leave the UK. We were beyond distraught. The phone rang off the hook with wonderful people offering advice or even offers to come and live in their country, places like Holland and even Australia. This prospect was beyond daunting for both of us. We needed a small miracle. We had been sifting through any legal information we could find about our predicament. Then, when looking through the Stonewall legal aid booklet, we discovered a chapter marked “where to live in the world.” There were only four countries on that list and to our absolute amazement, a new country had just been added: Canada. It was 1998 and there were now five countries in the world that would sponsor same-sex couples. This was our miracle. We went running to the Canadian High Commission in London where the sweetest Canadian man named Mr. Rose asked how long Jen had left before needing to leave the UK. We had just over two weeks. He looked at me and promised that I would become a landed immigrant of Canada before Jen had to leave. Our miracle kept growing because he kept his word. My own country had firmly closed its doors, but Canada’s were wide open and welcoming. We could not have been more grateful.
Jen and Liz
Now, where should we live in Canada? It needed to be on the east coast so I could travel more easily to Europe. We asked advice from all the key people I had met in Banff. One of them was the iconic voice teacher and Canadian soprano, Mary Morrison. She said, “Oh my dear, you need to audition for Richard Bradshaw!” And the next thing I know, I was playing an audition for the Canadian Opera Company. Three weeks later, I was hired as a répétiteur at the company to work on Fidelio with Maestro Bradshaw conducting. Over the course of my contract, I kept coming across names like “Bayrakdarian,” “McHardy,” and “Westman” on the daily rehearsal schedule. I wasn’t sure who they were at first – they weren’t in my show and they weren’t understudies – so who were they? Then I realized that these were the COC’s young singers. It wasn’t an ensemble at all; it was a training program for operatic voices that happened to be called the Ensemble Studio. Halfway through my contract, Richard Bradshaw asked me if I wanted to run the Ensemble Studio fulltime. I was honestly taken aback. What on earth could I offer them? We were practically the same age and I felt like I didn’t have nearly enough experience for such an important job. But I just thought, “Well, I’m going to give it a go. It’s an amazing challenge. I will try it for a year.” Twenty years later, here we are.
Liz Upchurch (centre) with her first Ensemble Studio cohort: (l-r) Andrew Tees (back), Alain Coulombe (front), Michael Colvin, Liz, Krisztina Szabó and Liesel Fedkenheuer
In my first
year as Head of the Ensemble Studio, I was blessed with some of the most wonderful
human beings: artists like Krisztina Szabó, Alain Coulombe, Michael Colvin, and
Steven Philcox – can you imagine what that was like? We were more like friends
than colleagues. There was an amazing camaraderie between everyone. The
training ran quietly alongside the shows.
My role now is
almost unrecognizable to what it was. I came into the company as a répétiteur
who looked after the Ensemble Studio. I played the shows and coached the Ensemble
Studio alongside a handful of other trainers. Then a few years after I started,
I began to lose the vision in my right eye, having already lost most of the
vision in my left. I was now legally blind. I couldn’t follow a conductor
anymore, I had to relearn how to read scores. My job as a répétiteur would not
be possible. Unquestionably I would have to change everything I did and the way
that I did it.
from mainstage productions actually worked out for the better. Under the old
setup, I could easily miss working with Ensemble Studio singers for weeks if
they weren’t cast in the show I was working on. This way, I could take a step
back and oversee the nitty gritty of their day-to-day and more readily address
their needs. By stepping into more of an oversight role, it became clearer to
me what these young singers needed on a more regular basis. Without realizing
it, I had become a common factor in their sessions with all the outside
trainers – the glue, if you will. We would collaborate and when the outside
trainers left, I could help the artists distill the information. This was a key
element on how the Ensemble Studio’s training was to evolve.
Playing on the Four Seasons Centre stage
I started to
prioritize a collaborative approach to the
training model a number of years ago, the goal being to help unify
the training language used. There are so many different elements to
singing, that we need a clear vocabulary to clarify the
teaching goal. The body, the voice, the breath, the languages, the music, the
drama: these elements all interact when you teach singers. These are
often taught separately, but it seemed to
make more sense when we worked together in the same room at the same time. As
well as learning from each other’s craft, we could also problem-solve in a
I think most
singers are quite shocked when they first join the program because they’re so
used to having one teacher and then suddenly you have three or four trainers in
the room at the same time. To my knowledge, this way of teaching singers as a
team is truly unique. Once they start to trust the work, they also see the
benefits. So do the trainers. We try to tailor the program to meet the needs of
individual singers. In a program that moves at such a rapid pace, that’s
incredibly important. We don’t work collaboratively all the time, only when we
feel that this would be useful. So, we offer a menu of resources that singers
are able to mix-and-match. Ultimately, we want to make sure that when our
artists leave us, they have a sense of independence and all the tools and
connections they need to succeed wherever they are in the world. And our
singers really are all over the world.
If you had told
me nearly 30 years ago that I would be living in Canada, running a prestigious
operatic training program, and married to a woman, I’m fairly sure that I would
have laughed long and hard. I wouldn’t have believed any of it.
In my 21st
season at the COC, it amazes me that I have overseen an entire generation of
young Canadian singers and pianists. It continues to be one of the most
thrilling adventures of my career. There isn’t a day that goes by where I don’t
learn something from these gifted artists and trainers, as well as the high-profile
artists that perform on our mainstage. I am enormously proud of the program – our
trainers work so hard to make sure that the teaching is at the highest level – and
I have evolved as a person, a teacher, and an artist as a result. We have done
some groundbreaking work here and (although it is not very Canadian to say this,
I will anyway) there is much to be proud of.
Liz with the 2019/2020 Ensemble Studio
Photo credits (top to bottom): Chris Hutcheson; courtesy of Liz Upchurch; courtesy of Krisztina Szabo; courtesy of Liz Upchurch; Gaetz Photography