On March 27th, 2020 at Glenn Gould Studio,
audiences in Toronto have one last chance to experience jazz master Adam
Makowicz in concert. Known for his virtuosic performance as a jazz pianist and
unique interpretations of Chopin’s music, he will be joined by the members of
his jazz trio from New York — Krystof Medyna on saxophone and Jeff Dingler on
double bass – as well as Canadian pianist Daniel Wnukowski.
* * *
Makowicz’s musical journey is a remarkable one. He studied classical piano
during the communist regime in Poland, which officially censored jazz music and
forbid it from being broadcasted on radio. Yet, every city has its underground life, and
jazz found a way to the people.
For those familiar with Larry Beckwith’s work, it will come as no surprise that the new Confluence concert series is a delightful medley of juxtaposing ideas. Under his artistic direction, the new series explores all sorts of ideas culturally and historically. It reflects a new energy while deeply rooted in the kind of performing arts experience Beckwith is known to bring to an audience.
The idea for Confluence goes back four years, when Beckwith made the decision to bring Toronto Masque Theatre to a close. “I wanted to get out of the opera world, which can be exhausting and all encompassing, but I also felt responsibility not to walk away from everything that we have built.”
Beckwith is not just referring to the loyal audience that he has built over the years, but also the strong artistic relationships he has cultivated with numerous composers and performing artists in Canada and abroad. The successes of their previous collaborations were founded on mutual trust and respect, and in the Confluence Series, the artists get a say right at the concept stage of the concerts.
“It’s really a scary thing to start all over again, from the bottom up and re-define everything that was your reality.”
I just got off the phone with Rose Cora Perry. She is coming off two hours sleep and a “performer’s high” from singing the Canadian National Anthem to a full house at Budweiser Gardens in London for “Monster Jam,” the Monster Truck event featuring someone or something called “The Grave Digger…”
This classically trained rocker, whose childhood dream of being Sarah Brightman, talked to me about the November release of her sophomore album, Onto The Floor; what inspires her writing; challenges within the industry and feminism. She is also slated to perform at the Hard Rock Cafe on March 5th, for Women’s Day, with her partner from The Truth Untold, Tyler Randall. Read on…
“I’m evolving as an artist. The best part of getting older is that we become more honest.”
Ron Davis, one of Toronto’s most vibrant jazz pianists, has been presenting his SymphRonica concerts at the Lula Lounge for nearly three years. His upcoming concert on May 31st, SymphRonica Meets the Dazzling Dancing Lombard Twins, is part of Lula’s 10th annual LulaWorld Festival, taking place this month, is one you don’t want to miss. Read on…
(Credits: Photo by Natalie Logan / “1976” choreographed and performed by Dana Michel)
“…there is this contract written somewhere, whereby people will come and (witness) whatever it is you are after.”
Dana Michel is curled up in the corner of an old couch, one knee up, protective, like armour. She is a dancer and choreographer and the first year Resident Artist at Dancemakers Centre For Creation. Dana has already given one interview and I think would prefer to chill out before rehearsing for her revamp of 1976. We are in the rehearsal space at The Distillery District. The period building’s high ceilings and bright light from the massive windows are perfect to magnify the energy of this intense woman. We had a chance to chat about how she journeyed from the practical world of accounting and her job as a medical secretary. But the turning point in which she began dancing, choreographing and performing professionally, in what would be considered late in a dancer’s career, was seminal. Read on…
This is the beauty of independent theatre. It is vibrant and alive and on the edge.
Red One Theatre Collective cordially invites you to George and Martha’s home for an intimate evening of soul wrenching mayhem. Cocktails will have been served throughout the day, including perhaps some rubbing alcohol. Follow them into the wee hours of the following morning as you witness the alcoholic fuelled demise of a damaged marriage. Disappointment and disillusionment will be served as appetizers. Edward Albee’s iconic play, Who’s Afraid of Virginia Woolf breaks down the doors of the Storefront Theatre, whose curtains rise at 7 pm. Get ready for a wild ride, baby! Read on…
All the audience needs to do is let the music settle and move them.
Saturday, November 29th, at 8 pm, marks the newest concert for Music In The Barns. Stepping away from the New Canadian Music featured in last season’s series, Artistic Director Carol Gimbel has chosen a deeply traditional programme. Elegantly featuring the talents of pianist Cullan Bryant and violinist Moshe Hammer, New York City artist Lana Jean Israel adds to the multi-disciplinary event with her modernistic projection designs at the post performance reception. Read on…
“There was also something you can’t put your finger on that’s intuitive about the way that we responded to one another’s playing. I don’t even know how to put it into words. It’s chemistry, like in any relationship.” ~ Milena Pajaro-van de Stadt
In 2013, the Dover Quartet’s sensational performance earned them the top and special prizes at the String Quartet Competition in Banff. They have been in high demand ever since on the performance circuit.
As part of their breakneck touring pace throughout the US and Canada, they will be performing in Toronto this Thursday afternoon in the Women’s Musical Club of Toronto’s 117th series, and at Jeffery Concerts on Friday at 8 pm in London, Ontario. Read on…
Each of the monthly concerts introduces a notable classical composer-pianist. Each is also being performed by an excellent composer-pianist – Adam composes contemporary classical music and will be including his own works in each concert. Read on…
Designing a program for a concert often requires skillful finesse between what is new and what is familiar to the audience. What excites me is seeing the balance in the plethora of new and challenging works that members of the Thin Edge New Music Collective (TENMC) and visiting special guest Laura Ventemiglia have specially prepared for their audience in Cuatro Esquinas (Four Corners) — also TENMC’s first international collaboration project. Read on…