Two leads are better than one
The 2011 production of Le Nozze di Figaro was a success from several angles. Musically, the performance by all the student singers and orchestra players was very close to professional. Audiences loved it and impressed by the caliber of performance. Four shows were sold out, turning people away, and the other two shows were almost a full house. Media coverage was greater than before and reviews were full of praise. The partnership with Windermere Manor was also sold out, even after expanding the number of packages.
But beyond the stage lights, what contributes to the success from a student perspective is the leadership and double casting. Because of the number of vocal students, UWOpera director Theodore Baerg casts all leads twice. “From the audition process, everything is doubled except the chorus,” he said.
Doubling the cast, doubles the opportunities – and the scheduling. “It’s an opportunity to grow as a singer on stage,” said Baerg. “You learn by doing it.”
Giving that chance to do it to twice as many students also requires more planning and resources.
“It requires an inordinate amount of extra work,” said Baerg. “We need more hours and more people. We want to provide opportunities for as many students as possible, but they have other classes and ensembles. Because we’re a school, we are limited in the number of times and hours we can call people.”
At the beginning of January the students rehearse three nights a week plus all day Saturday. Two weeks before opening, they start every night plus Sunday. Baerg tries to create a schedule that also gives the students an experience that is close to professional, while balancing their other course demands.
“I insist they learn the music on their own. They are responsible for learning notes. Then the coaching begins, both individually and in groups. We teach the language, rhythm and some interpretation.”
Blocking of scenes is the next step and it must be consistent and common to both casts. This year that paid off extra because a series of accidents and illnesses haunted one cast. Members of the other cast stepped in. “People slipped in as if nothing happened,” said Baerg.
During blocking rehearsals, the director works with one cast while the other observes, then the switch and repeat the scene. “I put it on its feet as quickly as possible so we can start running it. An awful lot of planning is done ahead so we can be focused and stick to the schedule. There is very little room to deviate or we won’t get through it.”
Once the casts start running acts, the conductor attends rehearsals to hear the singing, become accustomed to the cues. Both casts then need rehearsal time with the orchestra. “One orchestra plays everything and it’s a very big job for them.”
As well as roles on stage, some students take on coaching, stage management and tech parts. “We’ve trained some excellent stage managers who’ve become professionals who are in demand,” said Baerg. “It gives more options to our students than just singing. There are a variety of things they can make into a career. The more they know from the inside, the better. Some become directors.
Students who become involved have a better idea of what is expected in the professional world after graduation, said Baerg. “It’s value added and very important. There is much more than singing, much more to opera than meets the ear.”
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Western’s music alumni have achieved greatness in many fields around the world. In 2008, the year of the Faculty’s 40th anniversary, an Alumni Wall of Fame was inaugurated to recognize 10 of these graduates and their accomplishments.
Last November, eight more alumni were honoured. They were chosen by a committee of alumni and professors emeriti for their contributions to music in a variety of disciplines.
Carol Beynon, BMus’71, has been a member of the Faculty of Education at Western for 27 years. She began her professional career as an elementary and secondary school music teacher in London, and then as a kindergarten teacher. At the faculty, she has taught elementary and secondary music education classes, as well as graduate courses in arts education and curriculum theory. Her research interests focus on music education in Canada, arts education, teacher development and identity and gender issues for males in non-traditional activities.
Carol is co-artistic director of the Amabile Boys Choirs, which have won national and international competitions, made four recordings, been showcased on CBC Radio 2, Minnesota Public Broadcasting, Bravo-TV and BBC Radio. They have been invited to perform for the World Symposium on Choral Music, the American Choral Directors Association national convention, the national meeting for the Association of Canadian Choral Conductors, and at the president’s Symposium at CSSE.
Armed with his talent as a percussionist and guitarist, Peter Brennan, BMus’75, sought out life on the road as a performer, which quickly earned him professional relationships with various rock bands, working in musical theatre productions, and traveling to Germany to work as a guitarist in Andrew Lloyd Webber’s Cats.
He arranged and produced albums by Canadian artists, including some that hit Top 10 charts as far away as the United Kingdom and earned several Producer Grants and awards. Peter was also a judge for Canada's Juno Awards and provided arrangements for several commercial ventures and the 2002 World Youth Day - Pope John Paul II Celebrations.
In the early 1990s, Peter formed a rock/symphonic ensemble, known as Jeans 'n Classics which became known across the continent. The demographic drawn to Peter’s concerts has embraced this unique blend of symphony and modern music and become a vital subscription base for orchestras.
In 2007, Peter received the Mayor's Honour Award for the Arts in London, Ontario, Canada.
Patrick Cardy (1953 – 2005), BMus’75, was one of Canada’s top composers, whose works contain characteristics of post-modernism in its references to earlier music.
More than 50 of his compositions were commissioned by the CBC, groups and individual performers, including the National Arts Centre Orchestra, the Ottawa International Chamber Music Festival, the Edmonton Symphony, the St Lawrence String Quartet, Angela Hewitt, Robert Cram and Beverley Johnston. His awards include three Composers, Authors and Publishers Association of Canada Fellowships, the 1976 Canadian Federation of University Women Creative Arts Award, three finalist selections in the CBC Radio Competition for Young Composers, a selection in the 1980 Gaudeamus International Music Week, a 1992 Juno Award nomination and a special shortlist commendation in the 2003 Masterprize . Patrick was an associate of the Canadian Music Centre and taught at Carleton University. As well as being active as an adjudicator and broadcaster, in 1996-7 he was new music advisor to the National Arts Centre Orchestra.
Bill Gilday obtained a degree in theory and composition at The University of Western Ontario Faculty of Music in 1970. He was principal trombonist with the London Symphony for three years. While obtaining his teaching degree in Edmonton, Bill played for Tommy Banks’ national television show. He moved north to teach music in 1973 at the Chief Jimmy Bruneau School in Rae-Edzo until 1979, then to Yellowknife in 1981 where he taught K-8 music at Mildred Hall School until 1998. He formed the Yellowknife Youth Choir, which sang for the Queen and Prince Philip.
Bill Gilday taught music at Ecole Sir John Franklin High School in Yellowknife for 10 years before retiring in 2009. His passion is teaching young people to sing and play musical instruments in every style from classical to jazz. Bill has always enjoyed opportunities to write original music, whether for choirs, his men’s folk singing group, The Gumboots, films, television specials, or plays. His setting of In Flanders Fields has been sung many times at the ceremonies in Ottawa for Remembrance Day.
Since his debut in the Chicago area just over a decade, ago Francesco Milioto, BMus ’96, balances a busy career conducting a range of orchestral and operatic repertoire, while maintaining a full schedule as a pianist and vocal coach. He is Co-founder/Conductor of the New Millennium Orchestra, Music Director of the Skokie Valley Symphony Orchestra, and the Chicago Cultural Center Summer Opera, Principal Conductor of the Highland Park Strings and Artistic Director/Conductor of Accessible Contemporary Music. Francesco is an assistant conductor and rehearsal pianist for both Chicago Opera Theater and the Ravinia Festival, where he works closely with James Conlon. He also makes regular appearances as a guest conductor. Francesco has performed operas in Germany and taken part in workshops and conducting competitions in both Hungary and Italy.
Stephan Moccio, BMus’94, was struck by a flash of inspiration that set him on the path to fulfilling a lifelong dream to create an epic anthem for the Olympic games upon their return to Canada. His 2010 Olympic theme, I Believe, was performed by Nikki Yanofsky and more than 200 variations represents the emotional, uplifting and empowering disposition of the Olympics.
With experience conducting the Toronto Symphony Orchestra and the Montreal Symphony Orchestra I Believe sessions, Stephan has begun to distinguish himself as a remarkably engaging international talent, bringing to life his outstanding work in all of his established roles of performer, arranger, composer, songwriter and producer.
He has written songs for international superstars such as Céline Dion (A New Day Has Come), Sarah Brightman, Josh Groban, Olivia Newton-John and Hayley Westenra.
Canadian pianist Arthur Rowe, BMus’74, is a critically acclaimed recitalist, soloist with orchestra and chamber musician. He began his professional career while still an undergraduate. Renowned cellist and Western Professor Tsuyoshi Tsutsumi invited him to play in recital tours in Canada and the United States, and soon after, Arthur was concertizing in cities across Canada in solo recitals, CBC radio recordings and concerti. Arthur is heard frequently on radio broadcasts in both Canada and the United States, and has recorded with various artists. A highly respected chamber musician, Arthur regularly collaborates with artists and chamber ensembles across North America. While at Indiana University, he began his long association with violinist William Preucil, Concertmaster of the Cleveland Orchestra, with whom he has performed for almost three decades. Having held positions at the University of Iowa and the University of Western Ontario, Arthur Rowe is Professor of Piano at the University of Victoria.
Barbara Smith, BMus’79, the Executive Director of the NYOC, is a classically trained musician and a graduate of the University of Western Ontario. She was Executive Director of the Toronto Philharmonia and Manager of Cultural Development for the Town of Markham and has been an arts administrator for the past 20 years. She is a recognized leader and mentor in the area of arts management and has demonstrated a strong commitment to professional development, educational and training opportunities for staff and students alike. She has a broad range of knowledge and expertise in the field of performing arts.
Barbara Smith joined the NYOC in 2003 at a time when the organization was experiencing a serious crisis. An expert in crisis management she has, over the past 7 years, provided the vision and leadership that has taken the NYOC from virtual bankruptcy to its current state of financial stability. Barbara also provided the organization with an artistic vision, the foundation of which was established through best practices over the organization's 50-year history, and also incorporates her own innovative ideas. Since bringing stability to the organization, Barbara is now in a position to focus her leadership skills more strategically by working with the Board and staff to further develop the mandate, activities and plans for the future of the NYOC.
Gift Fund/Masterclasses
Rock godmother to classical conductor – they all drop in at the Don Wright Faculty of Music. They take time to share experience and expertise with the students, enriching the education experience and beginning a burgeoning contact list for the young musicians. Often what brings them to Western is a contact on faculty and the Gift Fund.
Every year, $50 is contributed from each undergrad tuition fee to support the Gift Fund. Students and faculty may apply for funding of guest artists, instruments and extras not afforded by the budget.
“It’s a great fund,” said Students’ Council president Rebecca Watson, “because there isn’t always a budget for those extra artists. It’s also great that it is the students who bring forward what they want.”
This year, several of the requests came from Popular Music and Music Administrative Studies. “June Millington is a great example,” said Watson. “There was a great turnout from all programs and across campus, and the community. For students, it was a great experience to hear her, and see how personable she was.”
U.S. rocker Millington was a member of the 1960s-1970s band Fanny. She performed with such icons as Chicago, B.B. King, Dr. John, The Kinks, Ika and Tina Turner and Chuck Berry. She co-founded the Institute for the Musical Arts to share her passion and understanding of music and the business with girls and women.
Through IMA, she met Norma Coates, professor in the Pop Music program.
When Megan Miller, a student in the program, approached Coates about a Gift Fund application, Millington was their first choice. Miller and ???? organized the visit.
“They did a tremendous job,” said Coates. “It gave students a look at the real world. They got to hear what it’s really like out there. It was an opportunity to hear about the diversity of experience, and Millington told it like it is. June has real world experience and can provide inspiration.”
That realism is one of the biggest benefits of guest artists. Students interact with people who have made a life in music. They hear ideas, practical advice and begin networking contacts.
During Millington’s visit, she gave a lecture/performance, talked to a songwriting class and recording class, and was interviewed on the Music Students’ Council CHRW radio show.
“It’s a great supplement to the academics we provide,” said Coates. “It’s incredibly important. It also helps develop rapport within the department., a chance to do something together, for us and by us.”
Alumnus Francesco Milioto ('96) also gave a masterclass. He was in London to conduct Orchestra London and worked with six vocal students. The Chicago Tribune has called Milioto “one of the best young conductors working in the Chicago area.” He balances a schedule of conducting orchestras and operas with that of pianist and vocal coach. It was the latter skill he shared with Western students.
Each semester between 25 and 35 applications for such guests are made to the Gift Fund. Applications are reviewed by the president of the Music Students’ Council, six students representing the different programs, a professor and the dean.
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Fusion of new music with experienced and emerging artists
The Don Wright Faculty of Music and Orchestra London are joining forces to give audiences a taste of the future. The TD Canada Trust Festival of New Music features the works of both burgeoning and award-winning composers performed by students and established professionals. The three-day festival takes place at Western March 2-4.
Works by Western’s composers Peter Paul Koprowski, Paul Frehner and Sean Kim will be performed, as well as those of guest composer Scott Edward Godin and an array of other works from 1970 to present day. They represent a global exchange of talent, from Greece, England, Poland, France, Germany, Argentina, the Netherlands, the United States and Canada.
“It’s a varied program,” said Frehner, the key organizer. “It’s out of the ordinary. The March 2 concert is unified by the Kagel piece, which points to different parts of the world and cultural elements. It’s folkloric but not specific. It’s like being in a lounge in various countries and listening to a salon orchestra. The Feldman work was inspired by paintings by the New York school of artists. ”
Scott Godin’s Dang will be performed by the Contemporary Music Ensemble. Godin will talk about his music Wednesday afternoon before the concert at night. On Thursday, he will give a composer’s masterclass.
Kim is a doctoral candidate who wrote a piece for cello and piano for Transmission Ensemble, based in Montreal. “An Aftermath was inspired by the mortality rate graph during the Spanish influenza 198-1924,” said Kim. “It’s in two parts. The first represents the end of World War I and incorporates part of Stravinsky’s l’Histoire du Soldat and Holst’ The Planets. The second part is slower. The graph is represented by falling motifs of the growth rates and people dying.”
As well as playing the premiere of Kim’s work on Friday at 12:30, Transmission will give a masterclass with student chamber ensembles Thursday, followed by a flute and clarinet workshop. On Friday, they also read through student compositions.
Thursday evening, the Wind Ensemble and players from Orchestra London will be directed by Colleen Richardson. The program includes music by John Estacio and Fraser Linklater, Matthew Tommasini, Edgard Varese and David Manlanka.
On Friday night, Orchestra London will welcome student players as they perform works by Frehner, Koprowski, Brian Cherney and Jacob ter Veldhuis. Richardson and Frehner take turns on the podium.
The music is a rare opportunity for audiences to hear some of the best works of the past 30 years. The festival is a chance for students to play this music, and be mentored by professional performers as well as the composers themselves. It is part of a developing relationship that enriches their student experience on many levels.
“It’s grown from one concert last year,” said Frehner. It started with a request by Joe Lanza, concertmaster of Orchestra London, and a part-time faculty member, for some new music programming from Frehner. “Now it’s three days with a lot going on,” said Frehner.
Composition faculty and students form other universities and orchestra members from other cities have been invited to meet with colleagues and composers at the festival. Next year’s plans include virtual programming and multi-media.
The need to express through music is universal
One thing that sets humanity apart is the ability to organize sounds. Around the world and through time, the need to express ourselves through music has been a constant and common factor.
Dr. Ruth Wright, Chair of Music Education, is organizing the Leading Music Education International Conference (LME) at Western from May 29th to June 1st 2011, to explore that need and learn more about how musicians and educators can enable that expression.
Dr. Wright has been awarded a Social Sciences and Humanities Research Council (SSHRC) Aid to Research Workshops and Conferences grant to bring together an international gathering of more than 100 presenters from South Africa, West Africa, Senegal, the USA, Brazil, Canada, France, Finland, Greece, Ireland, Norway and the United Kingdom to engage with these issues.
Featuring practical workshops, research papers and poster presentations, the conference will host three keynote speakers: Christopher Small, author of Music, Society, Education; Music of the Common Tongue: Survival and Celebration in African and American Music and Musicking the Meanings of Performing and Listening, Dr. Hildegard Froehlich, Professor Emerita at the College of Music, University of North Texas and Dr. Randall Everett Allsup, Assistant Professor Teachers College, Columbia University and recent Fulbright Visiting Professor, the Sibelius Academy, Finland.
New Documentary on El Sistema
Education faces new challenges in the 21st century, yet it continues to play a vital role in the future life-chances of at-risk children and young people. Can El Sistema, the internationally acclaimed music program that helped lift children from the teeming slums of Caracas, Venezuela, be a new model of success for music education with youth -at -risk in North America, in general, and Canada in particular? As part of the LME Conference Dr. Wright has invited Canadian Music Educators’ Association Vice President Theodora Stathopoulos to co-convene a Canadian El Sistema Symposium.
This will take place on Sunday, May 29, 2011 and will consist of addresses and presentations including an opening address by Jonathon Govias, Abreu Fellow of the New England Conservatory. The conference committee is proud to announce that the symposium will also feature one of the first screenings of a new 48 minute documentary film on El Sistema entitled " Teaching The Life Of Music" by Toronto based filmmaker Noemi Weiss narrated by television’s Glee star Cory Monteith. This will be followed by a round-table discussion in the afternoon. Representatives of the Sistema inspired projects across Canada, Canadian orchestras, music educators and other interested parties will meet to exchange knowledge about their experiences in implementing such programs in Canada so far with the intention of furthering knowledge in this area and extending the reach of such opportunities.
Join the debate: contact Dr. R. Wright at 519-661-2111 ext 85339 or rwrigh6@uwo.ca
For more information on the conference and the El Sistema Symposium visit the conference website at www.lme.uwo.ca
