GEORGE FOX @ Music at Fieldcote Concert Series, Reply

Review by Karen DerryReviewer K Derry
Sunday night I had the pleasure of attending yet another great performance on the grounds of the Fieldcote Museum in Ancaster, a seven-acre property just outside of Hamilton. The quaint band shell, with its amazing backdrop of 100 foot pines, is named after Jim Green; a beloved local historian who also helped build it.
About six hundred people attended on this beautiful July night; many longtime fans of George Fox whose career has spanned decades and tours to many countries. including with artists like Randy Travis, Dolly Parton, George Strait and Willie Nelson, playing to sold out North American crowds.

George Fox in a rehearsing moment

George Fox in a rehearsing moment

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“POPOPERA”; the NAO’s program-design evolves 1

Review by Danny & Terry GaisinDanny & Terry '05
            The concept of an accepted program of familiar arias from classical opera presented in a concert format has faded into a same old, same old listing of ‘Nessun dorma; Habanera; “Au fond du temple Sainte” and the flower duet from Lakmé, usually with the invariable divas & divos. The National Academy Orchestra’s Brott summer Festival has pushed the envelope. Less familiar arias; new voices and program notes defining the actual pieces made this year’s edition a novel experience, especially for aficionados of the genre.

the soloists taking well-deserved kudos

the soloists taking well-deserved kudos

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Powerful N.A.O. Concert in Waterdown Reply

Review by Judith CaldwellreviewerJudith
      The National Academy Orchestra gave an outstanding performance of Beethoven’s monumental Ninth Symphony, in Waterdown, Part of The Brott Music Festival, the concert also featured a large choir and four talented soloists. The N.A.O. is made up of recent music graduates who are just beginning their professional careers. They gain the opportunity to play orchestral music during the Festival, while being mentored by seasoned orchestral players, who give them both musical and business advice. The competition for places is quite fierce and the standards very high.

Conductor Brott & soloist BARB CROALL

Conductor Brott & soloist BARB CROALL

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HAMMER BAROQUE satirizes English travelers Reply

Review by Judith CaldwellreviewerJudith
         Hammer Baroque presented a short delightful concert to wrap up their current season called The Paradise of Travelers. The 17th century title obviously refers to a time period well before the modern cramped economy class seats which take the paradise out of travelling.
The program consisted of madrigals, motets and canzonettas and included readings of the recollections of English travelers through Italy. Apparently the English were the most obnoxious travelers of their time – thoroughly convinced of the superiority of all things English and the quaintness of all other cultures.

Dietrich; Modolo; Roach & Roth -the Hammer Baroque quartet

Dietrich; Modolo; Roach & Roth 

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Whose symphony is it anyway?” (@ the T.S.O.) Reply

Review by Sylvie Di Leonardo  ReviewerSylvie2

The Toronto Symphony Orchestra and the Second City’s resident improv ensemble reunited at Roy Thompson Hall for the second performance of ‘The Second City Guide to the Symphony’, hosted by Second City alumnus/ improviser Colin Mochrie. This show features original music by the Second City’s own Matthew Reid, who joins the TSO on-stage for a “glorious ninety minutes when life doesn’t suck,” among similarly themed full-chorus and solo numbers. These ninety minutes provide high-quality accessible music and comedy, enjoyable by/for both TSO and SC devotees, as well as any “Symphony Virgins” who may be “Fiddling Around,” as the scenes suggest.
Brownen Sharp’s photo of ‘Chief Inspector’ Mochrie with the 2nd City & T.S.O.TSO & 2nd City concert
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T.S.O.’s ‘Eroica’ celebrates liberty, equality, fraternity Reply

Review by Sylvie Di Leonardo ReviewerSylvie2

Beethoven’s Symphony No. 3 in E-flat Major, Op. 55, the “Eroica,” heralded Romantic composition: It was written at the beginning of the French revolution, and underwent some changes in dedication between its writing, publication, and performance for reasons of politics, but more so, of integrity. Surely these sentiments are relevant to a contemporary audience.  Solid from beginning to end, the Toronto Symphony Orchestra’s performance was championed by the funeral march. The woodwinds shone during the return; the clarity in their execution of the theme gave a glimpse of the celebration of life inherent in the march.   Photo courtesy of JOSH CLAVIR

Bronfman performing with the Toronto Symphony

      Yefim Bronfman performing the concerto No. 3 with the Toronto Symphony

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