LSM Newswire

Friday, January 25, 2008

Équi Vox Montréal

Offre de bourse du Fonds de relève Alcan/Équi Vox Montréal à une étudiante en musique

Nous sommes à la recherche d'une étudiante en musique de niveau universitaire pour l'année 2008-2009 intéressée à participer activement aux activités de la chorale Équi Vox Montréal, en vue d'acquérir une expérience lui permettant d'être un jour chef de choeur ou encore d'accroître ses qualités de musicienne.

Le fonds de relève Alcan/Équi Vox Montréal offrira à l'étudiante sélectionnée une contribution de 1 500 $ à ses frais de scolarité des sessions d'automne-hiver d'année universitaire.

CRITÈRES D'ADMISSIBILITÉ

1) Être une étudiante en musique de niveau universitaire à plein temps

2) Être prête à participer activement aux activités du choeur Équi Vox Montréal tant sur le plan musical (support de la qualité musicale de l'ensemble etc.) que de l'organisation d'activités propres à la chorale (Chant-o-thon, concert de Noël, concert de fin d'année, etc.)

3) Détenir un dossier académique au-dessus de la moyenne

4) Être admissible à l'aide financière aux étudiants

5) Partager les valeurs de la chorale Équi Vox Montréal*

Si vous avez envie de vous joindre à nous, consultez notre site au www.equivox.org/Montreal puis envoyez :

- votre CV

- votre plus récent relevé de notes scolaires

- une lettre de motivation

- une lettre de recommandation d'un de vos professeurs de musique

DATE LIMITE : le 30 avril 2008

à Madame Claire Cloutier, chef du choeur Équi Vox à claire@equivox.org

Nous serons « enchantées » de recevoir vos candidatures!

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[Montréal] Sixtrum présente Paysages Imaginaires - les Percussions de John Cage

L'Ensemble à percussion Sixtrum consacre son prochain concert
à la musique de John Cage

L'Ensemble à percussion Sixtrum présente un événement unique, le mercredi 30 janvier 2008, à 20 h, à la salle Claude-Champagne de l'Université de Montréal : « Paysages Imaginaires - les Percussions de John Cage ». C'est tout le cheminement de l'une des figures les plus marquantes de la musique du XXe siècle que Sixtrum vous propose de parcourir, à travers onze de ses oeuvres pour percussion dont la composition s'échelonne de 1939 à 1990.

L'ensemble interprétera les cinq Imaginary Landscapes de John Cage - présentées dans leur totalité pour la première fois à Montréal - et ses trois Constructions, oeuvres écrites en début de carrière et qui marqueront déjà l'esthétique du compositeur. En contraste avec les précédentes, s'ajouteront trois oeuvres plus récentes, Music for Six, Child of Tree et One4, davantage basées sur le hasard et l'indéterminisme.

Aucun événement consacré à John Cage ne serait complet sans que soit mis en évidence son sens de "l'anarchie musicale". Sixtrum présentera donc, en avant-concert, un MusiCircus au cours duquel on pourra entendre différents solistes et groupes d'étudiants de la Faculté de musique de l'Université de Montréal. Ce MusiCircus symbolisera la constante remise en question des hiérarchies entourant la prestation musicale, telles que la relation entre le musicien et le public, une préoccupation constante du compositeur.

Cette soirée, remplie de surprises et caractéristique du parcours de John Cage, sera dédiée à la mémoire de Robert Léonard, musicien, pédagogue, animateur et créateur décédé à l'été 2006 et dont les travaux furent largement inspirés de la musique de Cage.

John Cage (1912-1992)

Le compositeur américain John Cage fut l'une des figures les plus marquantes de la création musicale du XXe siècle. Son catalogue se distingue par son extraordinaire variété ainsi que par le fort sentiment de liberté qui s'en dégage : John Cage, loin des institutions dominantes de l'époque en matière de composition et défendant toujours son originalité, a puisé son inspiration à diverses sources - la danse (il collabore étroitement avec Merce Cunningham), certaines philosophies asiatiques : l'étude approfondie du zen l'amène à nier le principe d'intentionnalité dans l'acte créateur et il recourra souvent au I Ching pour fixer certains paramètres musicaux. Sa recherche timbrale le pousse à utiliser des instruments jusqu'alors inusités dans la musique contemporaine de tradition savante, tels des circuits électriques et des objets de la vie courante. Son oeuvre, qui a grandement contribué au développement du répertoire pour percussion, est une véritable ode à la création, à l'artiste et à sa liberté.

« I can't understand why people are frightened of new ideas. I'm frightened of the old ones. »
John Cage

Sixtrum

Créé en 2007 par les percussionnistes les plus actifs de la scène montréalaise, Sixtrum réunit D'Arcy Philip Gray, Julien Grégoire, Philip Hornsey, Kristie Ibrahim, Robert Leroux et Fabrice Marandola. L'ambition du nouveau groupe : renouveler un genre développé au cours de la deuxième moitié du XXe siècle par des groupes précurseurs tels que les Percussions de Strasbourg. Les objectifs de Sixtrum sont regroupés autour de deux grands axes : la recherche-création et l'innovation d'une part et la formation/animation/sensibilisation d'autre part.

Le concert inaugural de Sixtrum, Pléïades, présenté le 17 octobre 2007, figure au palmarès des 10 meilleurs concerts de musique classique de l'année 2007 du critique Christophe Huss du quotidien Le Devoir.

« Paysages imaginaires - les Percussions de John Cage »

First Construction (1939)
Child of Tree (1975)
Second Construction (1940)
One4 (1990)
Third Construction (1941)

Imaginary Landscapes 1 à 5 (1939-1952)
Music for 6 (1987)

Sixtrum: D'Arcy Philip Gray, Julien Grégoire, Philip Hornsey,
Kristie Ibrahim. Robert Leroux, Fabrice Marandola
Percussionniste stagiaire: Sandra Joseph

Le mercredi 30 janvier 2008
19 h - Musicircus
20 h - Concert

Salle Claude-Champagne de l'Université de Montréal
220, Vincent-d'Indy, Montréal (métro Edouard-Montpetit)
20 $ (régulier), 10 $ (étudiants)
Gratuit pour les étudiants de la Faculté de musique de l'Université de Montréal
Billetterie ADMISSION : 514 790-1245
Renseignements : 514 343-6427

«On n'imite pas, on ne refait pas Cage : on laboure et on sème les champs qu'il a défrichés»
Robert Léonard

Contact: info@sixtrum.com

Pour faire retirer votre nom de cette liste d'envoi, cliquez ici

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Thursday, January 24, 2008

York U Music: Mark Chambers Faculty Concert Series Feb 7

Diverse duets of cello and piano in Mark Chambers' Faculty Concert Series performance

Toronto, January 24, 2008: Cellist Mark Chambers headlines the Faculty Concert Series of York University's Music Department on February 7 with a wide-ranging program of duets for cello and piano, partnered by his department colleague and frequent collaborator, Christina Petrowska Quilico. The concert takes place at 7:30pm in the Tribute Communities Recital Hall at York.

The artists will showcase their versatility and musicianship in selections from the classical repertoire spanning two centuries and a variety of stylistic idioms, including romantic, popular and modern music. The diverse program features Beethoven's Sonata in A major for Cello and Piano, op. 69; Robert Schumann's romantic, lyrical Fantasy Pieces; Arvo Pärt's minimalist Fratres for violoncello and piano; and Astor Piazzolla's jazz-influenced Libertango.

Chambers, who serves as associate Chair and coordinator of the department's classical music area, is a performer, conductor and early music specialist. He studied cello with Martha Gerschefski, Lubomir Georgiev and David Miller and has performed extensively throughout the United States and Ontario as both a chamber musician and orchestral player. He currently plays in a piano trio with Petrowska Quilico and his wife Heather Chambers, and is also active as a clinician and adjudicator. At York, he directs the York University Symphony Orchestra and the Baroque Ensemble.

A former Theodore Presser Foundation Fellow, Chambers' research interests include Baroque music, period instrument performance practice, the 'Tartini Tone', and scordatura, altered tunings for strings. He has authored several articles for the American String Teachers Journal and is a contributor to the New Grove Dictionary of Music and Musicians. He joined York's Music Department in 2005.

An internationally known pianist and recording artist. Petrowska Quilico has devoted her career to bridging the gulf between traditional and contemporary classical keyboard music. Widely recognized as a champion of Canadian and new music, she is equally at home in 19th century European romantic repertoire. She has appeared in solo recitals, chamber settings and with orchestra on four continents, and collaborates frequently in live and recorded performances with her faculty colleagues at York, where she has taught piano performance and musicology since 1987.

__________________


What: York University Faculty Concert Series featuring Mark Chambers, cello, with Christina Petrowska Quilico, piano

When: Thurs. Feb 7 at 7:30pm
Where: Tribute Communities Recital Hall, Accolade East Building, York University, 4700 Keele St. [Map]
Admission: $15, students $5.
Box Office: 416.736.5888 | www.yorku.ca/perform/boxoffice

This is the fifth of seven performances in the Faculty Concert Series spotlighting faculty artists in the Department of Music at York University. Upcoming concerts will feature Catherine Robbin and Barry Elmes.

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Media Contact:
Amy Stewart, Communications, Faculty of Fine Arts, York University
416.736.2100 ext. 20421 | amy.stewart@yorku.ca

--  Amy P. Stewart Communications, Faculty of Fine Arts York University 4700 Keele Street, Toronto ON Canada M3J 1P3 tel 416.736.2100 ext. 20421 fax 416.736.5447 amy.stewart@yorku.ca www.yorku.ca/finearts

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La Faculté de musique de l'Université de Montréal accueille le sociologue Pierre-Michel Menger

Le spécialiste français inaugure la nouvelle série de conférences de prestige

«Bilans et tendances des musicologies »

Montréal, le 24 janvier 2008 - Le secteur de musicologie et d'ethnomusicologie de la Faculté de musique de l'Université de Montréal est heureux d'annoncer le lancement de sa série de conférences de prestige : « Bilans et tendances des musicologies ».

Cette série de conférences permettra à une grande personnalité internationalement reconnue dans les domaines de la musicologie ou de l'ethnomusicologie et dont les travaux se préoccupent aussi de questions fondamentales à l'ensemble des sciences humaines de présenter ses vues personnelles dans son champ spécifique de recherche.

Cette série de conférences sera inaugurée ce mois-ci par quatre conférences de Pierre-Michel Menger, professeur de sociologie à l'École des Hautes Études en Sciences Sociales de Paris. Dans le cadre de l'invitation de la Faculté de musique de l'Université de Montréal, Pierre-Michel Menger tentera de répondre à la question : « Où en est la sociologie de la musique ? » par quatre conférences qui seront autant d'essais de sociologie de la musique.

Ces conférences seront données les 29 et 31 janvier et les 5 et 7 février.

Pierre-Michel Menger est connu dans le monde musical, entre autres, pour son ouvrage Le paradoxe du musicien. Le compositeur, le mélomane et l'État dans la société contemporaine (Flammarion, 1983). Il est l'un des premiers sociologues de l'art à avoir questionné la légitimité des musiques d'avant-garde de l'époque en soutenant qu'elles ne survivaient que grâce aux subventions de l'État et en se fondant sur des enquêtes pointues auprès des publics d'institutions musicales bien connues comme l'IRCAM et l'Ensemble InterContemporain. Il est reconnu aujourd'hui comme l'un des chercheurs qui a favorisé l'émergence et le développement du postmodernisme dans le domaine de la musique et de la musicologie.

Quatre essais de sociologie de la musique, conférences de Pierre-Michel Menger

La sociologie de la musique s'est développée sur deux versants : une contribution aux recherches spécialisées sur les oeuvres, leur signification, leurs contextes socio-historiques de production et de réception, et sur les divisions en types et genres de musique, et ce, en coopération ou en compétition avec d'autres disciplines - musicologie, ethnologie, histoire, notamment; et une application des outils de la sociologie à l'étude de la musique comme système d'activité doté de ses professions, organisations, mécanismes de compétition, conventions d'évaluation et de patrimonialisation, et comportements de consommation.

Les quatre conférences se situeront principalement sur le second versant, mais s'efforceront de montrer qu'un tel ancrage, loin de se réduire à une simple extension des objets de recherche de la sociologie (ce qu'il est assurément aussi), peut permettre d'aborder des questions centrales comme celle de la valeur, du travail créateur, de la différence de talent et de l'historicité de la notion d'oeuvre autrement que dans les termes aujourd'hui devenus stériles de la spéculation théoricienne des premiers temps de la sociologie de la musique. Les conférences prendront notamment appui sur les recherches qui ont été menées par l'auteur, principalement sur le monde de la musique « savante ».

4 conférences de Pierre-Michel Menger

Mardi 29 janvier, 17 h : « La position des arts et de la musique dans le développement de la sociologie » (salle Jean-Papineau-Couture, B-421)

*Un cocktail organisé par l'Observatoire international de la création et des cultures musicales et le Cercle de musicologie de l'Université de Montréal suivra cette première conférence.

Jeudi 31 janvier, 16 h 30 : « Le musicien et son travail : professions, marchés du travail, organisations » (salle Serge-Garant, B-484)

Mardi 5 février, 16 h 30 : Controverses sociologiques : comment analyser le talent créateur ? Une réfutation du relativisme constructionniste » (salle Serge-Garant, B-484)

Jeudi 7 février, 16 h 30 : « Que peut dire la sociologie de l'oeuvre musicale ? Propositions. » (salle Serge-Garant, B-484)

Faculté de musique de l'Université de Montréal

200, Vincent-d'Indy, Montréal (métro Édouard-Montpetit)

Entrée libre

Pierre-Michel Menger

Pierre-Michel Menger est directeur de recherche au Centre National de la Recherche Scientifique et directeur d'études à l'École des Hautes Études en Sciences Sociales (Paris). Médaillé d'argent du CNRS (1999), professeur invité à l'Université du Québec, fellow du Wissenschaftskolleg de Berlin (2006-2007), il est Visiting Scholar à Columbia University au début 2008.

Après des études de philosophie à l'École Normale Supérieure, il a consacré son doctorat de sociologie à la création musicale contemporaine (Le Paradoxe du musicien. Le compositeur, le mélomane et l'État dans la société contemporaine, Paris, Flammarion, 1983, rééd. L'Harmattan, 2001). Une autre recherche a suivi sur la création et l'informatique musicales, notamment à partir d'une enquête à l'IRCAM (Les laboratoires de la création musicale, Paris, Documentation française, 1989). Ses travaux ont porté ultérieurement sur les professions et les marchés du travail artistique (La profession de comédien, Paris, Documentation française, 1998) et sur la sociologie générale des professions (Les professions et leurs sociologies, Paris, Editions de la MSH, 2003). Ses recherches sur les arts ont donné lieu à des collaborations avec des collègues historiens (PM. Menger et J. Revel, eds, « Les Mondes de l'art », n° spécial des Annales, 1993) et économistes (V. Ginsburgh et PM. Menger, eds, Economics of the Arts, Amsterdam, North Holland, 1996). Une recherche pluridisciplinaire sur la modélisation et l'analyse descriptive en sciences sociales a été publiée dans Le modèle et le récit, codirigé par JY Grenier, C. Grignon et PM. Menger (Paris, Éditions de la MSH, 2001). Ses travaux récents, notamment, visent à situer l'artiste et le travail artistique dans l'évolution contemporaine des systèmes d'emploi et de cotation du travail et dans l'examen des dilemmes flexibilité/sécurité/autonomie/risque. Trois ouvrages sont issus de ce programme de recherche : Les intermittents du spectacle, sociologie d'une exception (Paris, Éditions de l'EHESS, 2005), Profession artiste, extension du domaine de la création (Paris, Textuel, 2005), et Le travail créateur (à paraître en 2008). Les recherches actuelles de PM. Menger portent notamment sur deux questions : « Qu'est-ce qu'achever une oeuvre ? » et « Le marché du travail scientifique ».

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Source :

Secteur musicologie et ethnomusicologie

Faculté de musique - Université de Montréal

Renseignements :

Julie Fortier

Faculté de musique - Université de Montréal

514 343-6365

julie.c.fortier@umontreal.ca

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2009 Honens International Piano Competition Announces Jury and Featured Artists

Canada's prestigious Honens International Piano Competition
makes first announcement for 2009 Competition


CALGARY, AB, January 24, 2008 - Honens announced today the juries and featured artists of the Sixth Honens International Piano Competition:

JURIES

First Jury - Stage One
Angela Cheng, Chairwoman Canada
Katherine Chi Canada
Matthias Kirschnereit Germany
Ronan O'Hora United Kingdom

Second Jury - Quarterfinals, Semifinals, Finals
William Aide, Chairman Canada
Jean-Efflam Bavouzet France
Iain Burnside United Kingdom
Hung-Kuan Chen Germany
Jane Coop Canada
Aleksander Madzar Belgium
Anne-Marie McDermott United States


COLLABORATING ARTISTS

Quarterfinals
Brian Current, composer Canada
Erika Raum, violin Canada

Semifinals
Marie-Nicole Lemieux, contralto Canada

Finals
Calgary Philharmonic Orchestra Canada
Christoph Campestrini, conductor Austria

Canada's Honens International Piano Competition is a wonderfully different kind of music competition. Honens looks for artists whose interpretations grow from a wide cultural context and keen imagination, whose performances are informed yet flavoured by a fascination for life outside the practice studio, and whose talent inspires the heart and engages the intellect. Honens is dedicated to "Discovering the Complete Artist" - every aspect of the Competition reflects this philosophy.

After the Competition, Honens serves an essential need in the lives of emerging concert artists, those of mentorship and management. The laureates of the Honens Competition are supported in their budding careers by a robust career development program lasting three seasons - a program that provides opportunities for creative development, career growth and exposure.

Applications for the Competition will be available at honens.com starting February 1. The deadline for applying is October 31, 2008.

The Sixth Honens International Piano Competition takes place in Calgary, October 22 to November 6, 2009, and is presented by Nexen Inc. and supported by Steinway & Sons, Irene Besse Keyboards Ltd, TransAlta, Arcis Corporation, Alberta Views, Bantrel Co., Canadian Natural Resources Ltd, McCarthy Tétrault LLP, Masters Gallery, CBC Radio 2, WAX Partnership, and RPM Piano Movers. For more information about Honens, visit honens.com.

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Information:
Julie Wright
Honens
403 299 0130 x 138
jwright@honens.com

Backgrounders:
Competition schedule
Collaborating Artists and Jury bios

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Dilettante Launches Online Classical Community

On Monday 28th January 2008 Dilettante Music goes live.
www.dilettantemusic.com

Dilettante is the first specialist classical music community on the Internet with tools for musicians, listeners and novices. The site aims to create a global network where classical musicians and fans can discover, present and share the music they love.

Why "Dilettante"?
Dilettante comes from the Italian dilettare meaning "to delight", so a dilettante is anyone who enjoys the arts.

Why classical? Why now?
Record industry sales figures show that classical is currently the fastest-growing genre of music, with digital downloads of classical music outpacing those of any other genre. Meanwhile, the demographic of classical music listeners is changing. Boasting a total listenership of 6.5million, the UK's ClassicFM recently reported a 52% increase in listeners under the age of 15 in a mere three-month period. As the Canadian news magazine Maclean's put it, "maybe classical music isn't dying, just relocating to the Internet."

Juliana Farha, the company's Canadian founder, was determined to use the Internet to revive the true spirit of dilettantism in music.

She says: "I was convinced that new listeners could discover classical music if they were given the right tools. Dilettante is designed to guide listeners on a journey through that often-daunting world". At the same time, Juliana wanted to support talented and committed young classical performers. "The best way to accomplish both was to help them find each other," she says.

The Site
At the heart of the Dilettante site is an unprecedented level of integration between the members' network and music pages. The Dilettante music catalogue is enhanced by the web's most comprehensive data about classical performers, composers and their works; supplied by All Media Guide.

Web 2.0 tools enable classical music lovers and novices alike to harness the power of the Internet for covert exploration and discovery. Members of the Dilettante community create online profiles that:

- showcase their repertoire and influences
-'fingerprint' (tag) music according to mood and other criteria
- highlight other skills, such as composing or teaching
- use blogs to share their news and views
- link their profiles to their own recordings for sale in the Dilettante shop, powered by Amazon.

In the coming weeks, we'll be adding tools to enhance user profiles, including:

- mp3 uploads of musicians' own performances and compositions
- a public events calendar, with concerts linked back to performer's profiles.

In addition, Dilettante will collaborate with producers to present classical music events in non-traditional venues.

These are the ingredients for a classical revolution; the only qualification to join is curiosity.


Rising Stars Webcast

The Dilettante uprising begins with a series of webcasts featuring some of the UK's rising stars. On 28th January 2008, The Harpham Quartet are first in the spotlight. Recent music college graduates, these fantastic young musicians have already made their Wigmore Hall debut and been featured live on BBC London.

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L'Ensemble Transatlantik Schrammel et l'accordéoniste viennoise Barbara Fasst en tournée au Québec en février

DÎNER OU SOUPER CONCERT À LA BUTTE ST-JACQUES À MTL
CONCERT AU CENTRE D'ART LA CHAPELLE À QUÉBEC


Quelle tristesse, vous n'étiez pas du voyage lors des concerts à Garmisch-Partenkirchen et à Vienne de l'Ensemble Transatlantik Schrammel l'hiver dernier. Consolez-vous ! Le même programme vous sera offert en compagnie de la viennoise, virtuose de l'accordéon chromatique Schrammel Barbara Faast ici même à Québec. Venez entendre. à quelques jours de la ST-VALENTIN, des valses de Strauss, Sibelius, Boudreau et Schostakovitch ainsi que d'autres danses à saveur champêtre et romantiques de l'époque de l'empire d'Autriche.


Samedi 9 février à 20h au Centre d'art La chapelle situé au 620 avenue Plante. prévente 20$ / porte 25$ Info et réservation 686-5032.


Dimanche 10 février à la Butte St-Jacques, 50 rue St-Jacques Ouest à Montréal


2 représentations


11h concert et dîner OU

14h30 concert et souper

concert et repas 5 services (taxes et service inclus) 37$

Info et réservation 450-435-1611


Une présentation de la Société de musique viennoise du Québec

(www.viennamontreal.ca )


Merci de votre précieuse collaboration et bonne saison


Source Jean Deschênes

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Wednesday, January 23, 2008

Professional Grant Proposal Writing Workshop (March 2008: Los Angeles, California)

The Grant Institute: Certificate in Professional Program Development and Grant Communication will be held in Los Angeles, California, March 17 - 21, 2008. Interested development professionals, researchers, faculty, and graduate students should register as soon as possible, as demand means that seats will fill up quickly. Please forward, post, and distribute this e-mail to your colleagues and listservs.


All participants will receive certification in professional grant writing from the Institute, as well as 3.5 CEU units. For more information call (888) 824 - 4424 or visit The Grant Institute at www.thegrantinstitute.com


Please find the program description below:


The Grant Institute

Certificate in Professional Program Development and Grant Communication

will be held in

Los Angeles, California

March 17 - 21, 2008

8:00 AM - 5:00 PM


The Grant Institute: Certificate in Professional Program Development and Grant Communication is a five-day intensive and interactive experience in which participants will be led through the program development, grant writing, and funding acquisition processes through the completion of four courses. The Grant Institute is not a seminar. Participants will actively engage in exercises and activities designed to strengthen their mastery of grant acquisition. Through the completion of varying assignments, students will leave The Grant Institute with a real grant proposal outline complete with quality research, solid content, and expert review. The Grant Institute focuses on combining the fundamentals of grant proposal writing with expert knowledge of communication principles such as Strategic Research, Persuasion, Argumentation, and Framing.


The Grant Institute trainers and consultants do not merely lecture participants, but act as personal consultants and coaches dedicated to encouraging participants to succeed beyond their own expectations. While The Grant Institute uses collaboration and small groups for many exercises, each participant will work on their organization's pro ject. Participants are not overwhelmed with negativity or discouragement, but will be given the highest level of expertise to generate confidence in pursuing any funding project.


At The Grant Institute , participants don't j ust learn to write grant proposals from top to bottom. Participants become specialists in our unique area of expertise: Grant Communication. Simply put, this is not your grandfather's grantwriting workshop. Our graduates are strategic, innovative, and confident. Whether you are new to professional grantwriting, or an experienced professional, you will not want to miss The Grant Institute.


The Grant Institute consists of four (4) courses that will be completed during the five-day workshop.


(1) Program Development and Evaluation


This course is centered around the belief that "it's all about the program." This intensive course will teach professional program development essentials and program evaluation. While most grantwriting "workshops" treat program development and evaluation as separate from the writing of a proposal, this class will teach students the relationship between overall program planning and all strategic communication, including grantwriting. Consistent in our belief in grant communication, this class encourages students to understand successful program development and to think strategically about funding as an integral part of the overall program planning process. This class turns students into experts by teaching how to take ideas and concepts and turn them into professionally developed programs.


(2) Advanced Grant Writing


Designed for both the novice and experienced grantwriter, this course will make each student an overall fundraising communication specialist. In addition to teaching the basic components of a grant proposal, successful approaches, and the do's and don'ts of grantwriting, this course is infused with expert principles that will lead to a mastery of the process. Strategy resides at the forefront of this course's intent to illustrate grantwriting as an integrated, multidimensional, and dynamic endeavor. Each student will learn to stop writing the grant and to start writing the story. Ultimately, this class will illustrate how each component of the grant proposal represents an opportunity to use proven techniques for generating support.


(3) Strategic Grant Research


At its foundation, this course will address the basics of foundation, corporation, and government grant research. However, this course will teach a strategic funding research approach that encourages students to see research not as something they do before they write a proposal, but as an integrated part of the grant seeking process. Students will be exposed to online and database research tools, as well as publications and directories which contain information about foundation, corporation, and government grant opportunities. Focusing on funding sources and basic social science research, this course teaches students how to use research as part of a strategic communication effort.


(4) Advanced Communication Strategies: Institute for Communication Improvement Persuasion and Argumentation Techniques


This course, designed by Institute for Communication Improvement, will provide students with an arsenal of advanced persuasion and argumentation techniques. Centered around expert communication principles, this class will change the way students conceptualize grant proposals and other fundraising tools. Students will leave this course with ICI's masterful methods and will be more than j ust confident grantwriters, but communication specialists. This course is grounded on the idea that fundraising and nonprofit development represent profound communication activity. Without question, this course is part of The Grant Institute difference.


Registration


$997.00 tuition includes all materials and certificates.


Each student will receive:

*The Grant Institute Certificate in Professional Program Development and Grant Communication

*The Grant Institute's Guide to Successful Grant Writing

*Grant Institute Grant Writer's Workbook with sample proposals, forms, and outlines

*3.5 CEU Units, Association of Fundraising Professionals

*The Grant Institute's 2007 Funding Resource CD

Registration Methods


1) On-Line - Complete the online registration form at www.thegrantinstitute.com under Register Now. We'll send your confirmation by e-mail.

2) By Phone - Call (888) 824 - 4424 to register by phone. Our friendly Program Coordinators will be happy to assist you and answer your questions.

3) By E-mail - Send an e-mail with your name, organization, and basic contact information to info@thegrantinstitute.com and we will reserve your slot and send your Confirmation Packet.

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La Scena Musicale, La SCENA and The Music Scene introduces its New Releases Section

Our readers are always on the lookout for something new. Concertgoers and music lovers want to know about the latest CDs, DVDs, and books. Musicians want to know about new instruments and accessories for themselves and their students. Why not show them your latest goodies? Whether it's musical or relevant to any of the arts (theatre, dance, visual art, etc.), your product will benefit from great visibility in our magazines' latest feature, the New Releases Section. This is a new and remarkably affordable advertising supplement, starting at only $25 per listing! It will appear next to the Reviews section in all three of our magazines, creating national exposure for your product. Best of all, our culturally passionate and musically inclined readers are tailor-made for your new releases, allowing you to appeal to an ideal targeted market.

The NEW Release Section will begin in the February 2008 issue of La Scena Musicale. For the February 2008 issue, you can include the new releases since the fall.

The deadline for reservations is: Friday, January 25, 2008
Reservations email: wkchan@scena.org
Deadline for text and images: Monday, January 28, 2008 at 3 p.m.
Email for text and images: kali@scena.org

Pricing (based on a listing inserted in ONE of our magazines, taxes extra):
o Basic listing: $25
o Descriptive listing: $85 (includes cover image and 50-word description)
o Frequency discounts available
Characteristics:
o Glossy colour page
o Location: next to Reviews page
o In all three magazines
o Products: CDs, DVDs, Books, Instruments, Accessories
o Open to Music and the Arts

FORM

Basic:
- Label: ________________
- Website: _______________
- Title: _________________
- Artists: ________________
- Catalogue no: ___________
- Timing:________________
- No of discs/ # of pages: _________

Descriptive Listing:
- Description (50-words): ___________________
- CD Image


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Wah Keung Chan
Publisher / Éditeur
email: wkchan@scena.org -- or/ou -- wkchan@videotron.ca

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Read the NEW La Scena Musicale Blog http://www.scena.org/blog for regular news on music and the arts.
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La Scena Musicale, Honourable Mention at the 2007 Canada National Magazine Awards, Arts & Entertainment category
La Scena Musicale, mention d'honneur aux Prix du magazine canadien de 2007, catégorie arts et spectacles

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Calgary Opera announces Hold Over Performance of TOSCA

January 23, 2008 08-09

For Immediate Release

Calgary Opera Announces Hold-Over Performance of TOSCA


Calgary, AB - Calgary Opera has announced a fourth performance of Tosca on Sunday, April 27th at 2pm due to public demand for tickets. One of the greatest tales of love and loss, Puccini's Tosca runs April 19, 23, 25 & 27 2008 at the Southern Alberta Jubilee Auditorium. Tickets for the hold-over performance go on sale February 11th.


"We opened our current season with a new built-in-Calgary production of Rigoletto, followed by the Canadian premiere of The Ballad of Baby Doe, which opens this week," says W.R. (Bob) McPhee, General Director & CEO. "We're thrilled to end the mainstage season with one of the most beloved tragedies in the repertoire, and to open up another performance for people to attend. The extra performance will give newcomers to opera a chance to get excellent seats to this grand opera experience as well as giving our core audience an opportunity to share this opera with family and friends."

The Calgary Opera production features an all-star cast including Soprano Michele Capalbo making her company debut in the title role, Tenor Marc Hervieux (Frobisher 2007) as Cavaradossi, and Baritone Gaétan Laperrière (Filumena 2003) as the evil Scarpia. Rounding out the cast are Baritone Phillip Addis in his Calgary Opera debut, Bass-Baritone Brian McIntosh (Cinderella 2007), Tenor Stephen Bell (alumnus of the Calgary Opera Emerging Artist Development Program 2006-2007), and Baritone Steven Pitkanen (Tales of Hoffmann 2004). Robert Dean conducts, Michael Cavanagh directs.


Tosca is sponsored by Nexen, with the Calgary Opera Chorus sponsored by Petro-Canada. Tickets for the hold-over performance go on sale February 11th and range from $36 - $133. Tickets are available by calling Calgary Opera at 262-7286 or at www.calgaryopera.com.

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For further information, please contact: Helen Moore-Parkhouse, Calgary Opera 802-3406, or hmp@calgaryopera.com


Helen Moore-Parkhouse
Director of Development & Marketing
Calgary Opera
802-3406

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Premier concours chorégraphique / Les Grands Ballets Canadiens de Montréal

Communiqué

Pour diffusion immédiate

Les Grands Ballets Canadiens de Montréal

lancent leur PREMIER concours chorégraphique en 2008

Montréal, le 15 janvier 2007 - Une grande première aux Grands Ballets Canadiens de Montréal ! Soucieux de découvrir de nouveaux talents et de soutenir la création en ballet, la compagnie initie en ce début d'année un concours chorégraphique unique en son genre à travers le Canada. Les jeunes chorégraphes canadiens ou résidents permanents de 30 ans et moins, dont la formation, la démarche et la sensibilité artistiques s'appuient sur la technique de ballet classique, sont invités à s'y inscrire d'ici le 18 avril prochain.


Le concours chorégraphique des Grands Ballets Canadiens de Montréal, lancé aujourd'hui, offre l'occasion à quatre artistes du pays, dont un du Québec, de concevoir une oeuvre ne dépassant pas 25 minutes, pour au plus quatre danseurs de la troupe. Les lauréats pourront réaliser leurs créations au cours d'une période de cinq semaines, s'échelonnant de la mi-août à la fin septembre 2008. Celles-ci seront présentées à l'Agora de la danse, partenaire de présentation du projet, les 25, 26 et 27 septembre 2008, à la suite d'une résidence technique de trois jours au sein de ce chaleureux théâtre de la danse.


Fait important : dans le cadre de ce projet, les lauréats bénéficieront tout au long du processus de création du mentorat éclairé de Gradimir Pankov, directeur artistique des Grands Ballets, et de celui également de Stéphan Pépin, directeur de production de l'institution. Le concepteur d'éclairages, Marc Parent, fera de plus partie de l'équipe.


Dès son arrivée aux Grands Ballets, en 2000, Gradimir Pankov rêvait d'établir un tel concours innovateur. Identifier, encourager et solliciter la participation de talents émergents, soutenir la création, contribuer au développement et au rayonnement du ballet dans ses diverses expressions ont toujours été ses premiers objectifs. Par ce concours, il espère de plus établir des relations à long terme avec les jeunes chorégraphes au pays et intégrer les créateurs les plus talentueux à l'intérieur même de la programmation régulière de la compagnie.


Les Grands Ballets ont à différentes occasions commandé des pièces à des chorégraphes québécois et canadiens, dont par le passé Ginette Laurin, Édouard Lock et Shawn Hounsell, et aujourd'hui Peter Quanz. Toutefois, le nombre d'oeuvres canadiennes présentées a diminué au cours des dernières années en raison d'un manque de plateformes qui auraient permis aux nouveaux talents en chorégraphie d'acquérir de l'expérience. Tremplin pour les jeunes artistes, le concours chorégraphique des Grands Ballets se veut une solution pour pallier cette situation.


Créer dans un cadre exceptionnel, être conseillé et soutenu par des professionnels, travailler avec des danseurs accomplis et jouir de la crédibilité et de la réputation de la troupe : voilà ce que le concours chorégraphique des Grands Ballets Canadiens de Montréal offre aux futurs lauréats.


Les candidats intéressés peuvent se procurer le feuillet d'information du concours sur le site Internet de la compagnie www.grandsballets.com. Date limite d'inscription : 18 avril 2008.

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Renseignements : Francine Arsenault, communications

(514) 849-8681, poste 227 / farsenault@grandsballets.com

www.grandsballets.com

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PRESS RELEASE

For immediate release

Les Grands Ballets Canadiens de Montréal

lAUNCHES ITS FIRST CHOREOGRAPHIC COMPETITION IN 2008


Montréal, January 15, 2007 - A major "première" for Les Grands Ballets Canadiens de Montréal! With an eye to discovering new talent and supporting creation work in the ballet world, the company is initiating a choreographic competition...the only one of its kind in Canada. Young Canadian choreographers (citizens and permanent residents) aged 30 and under, whose training, approach and artistic sensibility are based on classical ballet techniques, are invited to enter by this April 18.


Les Grands Ballets Canadiens de Montréal choreographic competition, launched today, will give four artists from Canada, including one from Québec, the opportunity to create works a maximum of 25 minutes long for at most four of the troupe's dancers. Winners will direct their creations over a five-week period running from mid-August to late September 2008. The works will then be performed at the Agora de la danse, the project's presenting partner, on September 25, 26 and 27, following a three-day technical residence.


An important note: as part of the project, throughout the creation process winners will benefit from the enlightened mentorship of Gradimir Pankov, Artistic Director of Les Grands Ballets, as well as that of Stéphan Pépin, the institution's Production Director. Resident lighting designer Marc Parent will also be part of the team.


Ever since his arrival at Les Grands Ballets in 2000, Mr. Pankov has dreamed of founding an innovative competition like this one. His main objectives have always been to find, encourage and seek the participation of emerging talent, support their creation work and contribute to the development and growth of ballet in its various expressions. Through the competition, he hopes to establish long-term relationships with the country's young choreographers and integrate the most talented creators' work into the company's regular programming.


Les Grands Ballets has at various times commissioned works from Québécois and Canadian choreographers; past contributors include Ginette Laurin, Édouard Lock and Shawn Hounsell, and a current one is Peter Quanz. However, the number of Canadian works performed has diminished in recent years due to a notable lack of choreographers who master the arts of both ballet and choreography. As a spring plank for young artists, Les Grands Ballets choreographic competition aims to help improve this situation.


The opportunity to create within an exceptional framework, to receive the advice and support of professionals, to work with accomplished dancers and to benefit from the troupe's credibility and reputation: this is what Les Grands Ballets Canadiens de Montréal choreographic competition offers future winners.


Interested candidates can see the competition information sheet on the company's website at www.grandsballets.com. The deadline for entry is April 18, 2008.

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Information: Francine Arsenault, Communications

(514) 849-8681, ext. 227 / farsenault@grandsballets.com

www.grandsballets.com

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Les Étés de la danse / Les Grands Ballets Canadiens de Montréal

COMMUNIQUÉ

Pour diffusion immédiate

LE PRESTIGIEUX FESTIVAL

LES ÉTÉS DE LA DANSE DE PARIS
REÇOIT LES GRANDS BALLETS CANADIENS DE MONTRÉAL

AU GRAND PALAIS

DANS LE CADRE DU 400e ANNIVERSAIRE DE LA VILLE DE QUÉBEC


Montréal, le 15 janvier 2008 - En juillet prochain, Les Grands Ballets Canadiens de Montréal seront les invités des Étés de la danse de Paris, l'un des plus prestigieux festivals de ballet au monde.


Sous la présidence de Mme Jacques Chirac, Les étés de la danse enrichissent Paris durant la saison estivale d'une grande manifestation entièrement dédiée à la danse depuis sa fondation en 2005. L'événement, dirigé par M. Valéry Colin, reçoit chaque année une seule compagnie de réputation internationale et mobilise tout autant la France entière, par le biais d'une vaste campagne publicitaire, que les médias internationaux. Le San Francisco Ballet, l'Alvin Ailey American Dance Theater et le Ballet National de Cuba y ont déjà été reçus.


Les Grands Ballets, qui ne se sont pas présentés à Paris depuis trois décennies, ont été conviés à se produire en plein coeur de la capitale française, du 9 au 29 juillet 2008, pour une résidence de plus de 3 semaines et un total de 16 spectacles dans le cadre de la 4e édition de la manifestation. La compagnie devient ainsi le premier organisme culturel du Québec et du Canada à avoir été retenu pour illustrer l'excellence, le dynamisme et l'innovation en danse.


« Je suis particulièrement fier de présenter le nouveau visage des Grands Ballets dans une vitrine aussi exceptionnelle que ce festival », affirme le directeur artistique, Gradimir Pankov. «Cette invitation est une consécration pour tout le travail, les efforts et l'énergie consentis par tous les artistes, danseurs, concepteurs et artisans. Elle sera sans conteste l'un des grands moments de notre histoire », ajoute le directeur général, Alain Dancyger.


Les Grands Ballets Canadiens de Montréal présenteront trois programmes différents, réunissant des oeuvres récemment créées pour la compagnie, dont Minus One de Ohad Naharin, Toot de Didy Veldman, Noces de Stijn Celis et Les Quatre Saisons de Mauro Bigonzetti. Les spectacles seront donnés sur une scène entièrement construite dans la partie centrale du Grand Palais, bâtiment patrimonial et lieu mythique situé entre La Seine et les Champs Élysées. Ils constitueront l'un des grands événements marquants des célébrations du 400e anniversaire de la ville de Québec dans la capitale française. Plus de 45 000 spectateurs y sont attendus !

Un grand gala, sous la présidence d'honneur de l'Ambassadeur du Canada, M. Marc Lortie, et du Délégué général du Québec à Paris, M. Wilfrid Guy-Licari, et en présence de personnalités des mondes politiques et artistiques français, québécois et canadiens, marquera la soirée d'ouverture le 9 juillet 2008.


Les GBCM sont heureux d'être associés aux partenaires de prestige que sont Alcan, Power Corporation, Tourisme Montréal et le ministère du Tourisme du Québec, dans le cadre de cet événement. La compagnie est particulièrement fière de compter Air Canada comme partenaire privilégié et transporteur officiel. Les GBCM remercient également la Délégation générale du Québec et l'Ambassade du Canada, à Paris, de leur aimable collaboration.


Les Grands Ballets Canadiens de Montréal font vibrer leur ville au rythme de leurs créations chorégraphiques depuis 1957. Interculturelle et plurielle, telle est la stature de l'institution. En 2000, celle-ci a pris un grand virage sous l'impulsion éclairée de son nouveau directeur artistique, Gradimir Pankov, fort d'une longue expérience internationale. Dès son arrivée, il a fait des GBCM une compagnie de création et de répertoire reflétant les tendances actuelles en ballet, et toujours très active au pays comme à l'étranger. Vivier propre à l'éclosion de talents nouveaux, elle incarne aujourd'hui la créativité et l'audace. Elle offre une vision différente du monde par la danse, une vision plus que jamais émotive, théâtrale et passionnante.


Les GBCM bénéficient du généreux soutien du Conseil des arts et des lettres du Québec, du Conseil des Arts du Canada, du Conseil des arts de Montréal, des Affaires étrangères et Commerce international Canada et de Patrimoine canadien.

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Renseignements : Francine Arsenault, communications

(514) 849-8681, poste 227 / farsenault@grandsballets.com

www.grandsballets.com

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NEWS

For immediate release

PRESTIGIOUS LES ÉTÉS DE LA DANSE DE PARIS
HOSTS LES GRANDS BALLETS CANADIENS DE MONTRÉAL

AT THE GRAND PALAIS

AS PART OF QUÉBEC CITY'S 400TH ANNIVERSARY CELEBRATIONS


Montréal, January 15, 2008 - In July, Les Grands Ballets Canadiens de Montréal will be the featured guest company of Les étés de la danse de Paris, one of the world's most prestigious ballet festivals.


Since 2005, under the chairmanship of Mrs. Jacques Chirac, Les étés de la danse has crowned the summer season in Paris with a major event dedicated entirely to dance. The event, directed by Valéry Colin, hosts one internationally acclaimed company each year, and attracts the attention not only of the international media but also all of France thanks to a major advertising campaign. The San Francisco Ballet, Alvin Ailey American Dance Theater and Ballet Nacional de Cuba have preceded Les Grands Ballets as featured guest companies at this festival.


Les Grands Ballets, which has not performed in Paris for three decades, has been invited to perform in the heart of the French capital from July 9 to 29, for a three-week and a half, 16-show residence as part of the event's 4th edition. Les Grands Ballets is the first cultural organization from Québec and Canada to be chosen for this event to illustrate excellence, dynamism and innovation in dance.



"I am particularly proud to present the new face of Les Grands Ballets in such an exceptional showcase as the festival," says the company's Artistic Director, Gradimir Pankov. Adds its Executive Director Alain Dancyger: "This invitation is a testament to all the work, effort and energy invested by all our artists, dancers, creators and artisans. It will be, without any doubt, one of the milestones in our history."


Les Grands Ballets Canadiens will perform three different programs, bringing together several works recently created for the company, including Minus One by Ohad Naharin, Toot by Didy Veldman, Noces by Stijn Celis and Four Seasons by Mauro Bigonzetti. The shows will be performed on a stage entirely constructed in the central part of the Grand Palais, a legendary heritage building situated on the lower part of the Champs Élysées. Les Grands Ballets shows will constitute one of the main celebrations in the French capital marking the 400th anniversary of the founding of Québec City. More than 45,000 spectators are expected to attend!


A gala event will mark the opening night on July 9, with Ambassador of Canada, Mr. Marc Lortie, and Québec's Delegate General in Paris, Mr. Wilfrid Guy-Licari, as honorary chairs, and guests including notable political and artistic figures from France, Québec and the rest of Canada.


Les Grands Ballets Canadiens is pleased to be associated with prestigious partners Alcan, Power Corporation, Tourisme Montréal and the Ministère du Tourisme du Québec for this festival. The company is particularly proud to have Air Canada as a special partner and official carrier. Les GBCM would also like to thank the Délégation générale du Québec and the Canadian Embassy, in Paris, for their valued contribution.


Les Grands Ballets Canadiens has enriched Montréal with its choreographic creations since 1957. Intercultural and pluralistic, this is the nature of the institution. In 2000, Mr. Pankov took the helm as Artistic Director; under his guidance and because of his extensive international experience, the company took a new turn. From the moment of his arrival, he has transformed Les Grands into a creative and repertory company that reflects current trends in ballet, and that remains very active both at home and abroad. An incubator for new talent, the company today embodies innovation and daring. Les Grands Ballets offers an alternative vision of the world through an art form it holds dear: one that is more emotional, theatrical, and exciting, than ever.


Les Grands Ballets Canadiens de Montréal receives generous support from the Conseil des arts et des lettres du Québec, the Canada Council for the Arts, the Conseil des arts de Montréal, Foreign Affairs and International Trade Canada, and Canadian Heritage.



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Information: Francine Arsenault, Communications

514 849-8681, ext. 227 / farsenault@grandsballets.com

www.grandsballets.com

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Tuesday, January 22, 2008

[Ottawa] 11th Black & White Opera Soiree

MICHAEL SCHADE AND RUSSELL BRAUN INVITE YOU TO STEP INTO THEIR PARLOUR: PROGRAMMING ANNOUNCED FOR
THE 11th BLACK & WHITE OPERA SOIREE

OTTAWA, January 15, 2008 -- The 11th annual Black & White Opera Soiree -- on Saturday, February 23 at 20:00 in Southam Hall of the National Arts Centre -- showcases an all-Canadian cast of headliners, including internationally acclaimed opera superstars, tenor Michael Schade and baritone Russell Braun, and rising star, mezzo-soprano Lauren Segal. The world of opera meets the world of pop music as host for the evening will be singer-songwriter Steven Page of Barenaked Ladies, a long-time friend and fan of Michael Schade. Giovanni Reggioli will conduct the National Arts Centre Orchestra, and Michael Zaugg is the Chorus Master for the Opera Lyra Ottawa Chorus.

The Black & White Opera Soiree is presented by Bell, the founding sponsor of this annual fundraiser, in association with major sponsors EMC Canada and Vale Inco.

Both Michael Schade and Russell Braun have sung extensively in Austria. Indeed, Mr. Schade's career was launched in Vienna in 1991. He maintains an apartment in the centre of the city, has sung many of his most acclaimed roles there, and has appeared at the Salzburg Festival almost every year since 1994, always to great acclaim. The Black & White opera Soiree celebrates this unique connection by re-creating an enticing Viennese salon onstage in Southam Hall. Michael and Russell welcome their guests -- and the audience -- into the 'Gemütlichkeit', or 'warm and friendly atmosphere,' of a uniquely charming Viennese parlour. Inviting furniture will be scattered about, the musical guests will remain onstage throughout the evening, and the Opera Lyra Ottawa Chorus, festively attired, will mingle among the singers.

Although some repertoire is still under discussion, much of the programming has been confirmed. The evening will feature familiar, soaring melodies from some of the most popular operas in the canon, including Il barbiere di Siviglia (The Barber of Seville) by Rossini, Cosi fan tutte, Le nozze di Figaro (The Marriage of Figaro), and Don Giovanni by Mozart, Carmen by Georges Bizet, Die Fledermaus by Johann Strauss Jr., and Die lustige Witwe (The Merry Widow) by Franz Lehár. Surtitles projected above the stage allow the audience to enjoy an aria's lyrics as well as the music.

The Barber of Seville deserves special mention, as Michael Schade and Russell Braun have made a specialty of recreating the outrageous high-comedy antics of opera's most famous barber; selections from Barber include 'Largo al Factotum' -- the famous 'Figaro, Figaro, Figaro' aria -- by Russell Braun, 'Ecco, ridente in cielo' a romantic aria sung by Michael Schade, and the saucy 'Una voce poco fa' performed by Lauren Segal. Ms Segal will also be featured in a selection from Carmen, Cherubino's yearning 'Voi che sapete' from Le nozze di Figaro, and romantic duets with both Michael Schade ('So kommen Sie' from The Merry Widow) and Russell Braun ('La ci darem la mano' from Don Giovanni and 'Lippen schweigen' from The Merry Widow).

Michael Schade, one of the leading Mozart tenors on the stage today, will perform Don Ottavio's showpiece 'Il mio tesoro intanto' from Don Giovanni. Russell Braun will perform 'Finch'han dal vino', the famous 'Champagne aria' from Don Giovanni and the sprightly 'O Vaterland' from The Merry Widow, and together they will sing the tenderly expressive 'Secondate, aurette amiche' from Cosi fan tutte.


Steven Page -- who will not attempt opera -- will join the soloists for some crowd-pleasing favourites from the pop repertoire.

The Opera Lyra Ottawa Chorus will be featured in the 'Humming Chorus' from Puccini's Madama Butterfly, as well as in excerpts from Die lustige Witwe and Die Fledermaus. The NAC Orchestra will shine in renditions of the overture and entr'acte to Die Fledermaus and familiar selections from Die lustige Witwe.

"Tenor Michael Schade, who has built his high-profile international career on a beautiful, strong voice coupled with powerful artistry, communicated the full drama of every text he sang."
Toronto Star, December 17, 2007

[Russell Braun as Figaro] "-- the manner more commanding, the handsome, burry voice more fully rounded, the handsome face and figure more pliantly expressive. Vocally and artistically, he seems to have reached an enviable point of equilibrium. Sexy and smart and fully his colleagues' peer in either high notes or low comedy...." Opera Canada, Summer 2007

Lauren Segal consistently sang her part with power and a fine mezzo voice, capable of true expression and power." Robert Harris, The Globe and Mail, February 6, 2002

The Black & White Opera Soiree is an annual winter benefit for the National Arts Centre Orchestra and Opera Lyra Ottawa. Accessible and entertaining, the evening is a tantalising mix of fine food, high fashion, and some of the most beautiful music ever written. The Black & White Opera Soiree proudly showcases Canadian talent, with proceeds divided equally between the two arts organizations. Since its inception in 1998, the Soiree has contributed more than $1.8 million to help foster Canada's next generation of talented musical artists through training, mentoring, and showcasing.

The Black & White Opera Soiree takes place on Saturday, February 23, 2008 at the National Arts Centre.
o Soiree tickets are $325, which includes a cocktail reception, dinner, concert, and a post-concert party with the stars. Soiree tickets can be purchased through the NAC Foundation at 613-947-7000, ext.322 or at Opera Lyra Ottawa by contacting 613-233-9200, ext. 224.
o Concert-only tickets are $80, $70, and $55.

Tickets are available at the NAC Box Office (in person) and through Ticketmaster (with surcharges) at 613-755-1111; Ticketmaster may also be accessed through the NAC's web-site at
www.nac-cna.ca. For more information on the event please visit the NAC website or www.operalyra.ca.

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Information:
Gerald Morris, National Arts Centre Karl Balisch, Opera Lyra Ottawa
613-947-7000, x249 613-233-9200, x229
gmorris@nac-cna.ca
marketing@operalyra.ca

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RCM to confer Fellowships on R.Murray Schafer, Steven Staryk and John Perry

Composer R. Murray Schafer, Violinist Steven Staryk and Pianist John Perry to Receive Honorary Fellowships from The Royal Conservatory of Music
Convocation Ceremony for Class of 2007 to be held Saturday, January 26

Toronto, January 22, 2008 - Internationally acclaimed Canadian composer R. Murray Schafer, Canadian-born violinist Steven Staryk and American pianist John Perry will be named Honorary Fellows of The Royal Conservatory of Music (RCM) at the Convocation Ceremony which will be held at 2:00 pm on Saturday, January 26 at the Toronto Centre for the Arts in North York. This year's honourees join a distinguished group of colleagues including the late Oscar Peterson, Mario Bernardi, Mme. Aline Chrétien, Adrienne Clarkson, Maureen Forrester, Teresa Stratas, A.Charles Baillie, David Mirvish, Thomson Highway and Robertson Davis.

In conferring the honorary fellowships, Dr. Peter Simon, President of The Royal Conservatory of Music said, "These three extraordinary artists have made a substantial contribution to the development of music and music education in Canada, earning them the affection of the music community, the recognition of their peers and the respect of this country. All three have very strong links with the Conservatory, having studied and taught here. Thanks to their contribution, the Conservatory continues to have an immense impact on the cultural and social life of our entire nation."

RCM graduates from as far away as Vancouver, Calgary, Edmonton, Moose Jaw, Winnipeg, Montreal and Fredericton, as well as from communities across Ontario, travelled to Toronto to take part in the Convocation ceremonies. Each of the RCM graduates receives an ARCT certificate, becoming an Associate of the Royal Conservatory of Music, an internationally recognized certificate for teaching or performing.

This year's Convocation Ceremony will also feature a special performance by a 15-year old violinist Bora Kim, a student at the Conservatory's Young Artists Academy (YAPA) and a recipient of the RCME Gold Medal for Excellence in Theory.

Founded in 1886, The Royal Conservatory of Music is the largest and oldest independent arts educator in Canada, serving more than 500,000 active participants each year. To provide an even wider reach for its programs, the Conservatory has launched the Building National Dreams Campaign to restore its Victorian home and to build a state-of-the-art performance and learning centre.

Opening in 2008, the TELUS Centre for Performance and Learning will be one of the world's greatest arts and education venues and a wonderful resource for all Canadians. Designed by Kuwabara Payne McKenna Blumberg Architects (KPMB), this stunning facility will feature new academic and performance space, including an acoustically perfect 1,140-seat concert hall, new studios and classrooms, a new media centre, library and rehearsal hall. Technologically sophisticated, it will be the heart of creative education in Canada.

Biographical Sketches of Honorary Fellows:

Pianist John Perry earned his bachelor's and master's degrees at the Eastman School of Music. Mr. Perry has achieved considerable acclaim as a touring and recording artist and has won numerous prizes in international competitions. He has performed extensively throughout Europe and North America. Mr. Perry records for labels including Telefunken, Musical Heritage Society, CBC, Fox and ACA, which recently released his recording of three major American works for piano solo: Paul Cooper's Sinfonia, Sam Jones' Sonata for Piano, and the Piano Sonata of Donald Keats. As a respected chamber musician, Mr. Perry collaborates with some of the world's finest instrumentalists.

He has also attained an international reputation as a teacher, presenting master classes throughout the world. His students have been first prize winners in major competitions including the Rubinstein, Music Teachers' National Association, Naumburg Chopin National competition, Beethoven Foundation competition, Federated Music Clubs, the Young Keyboard Artists Association, American Music Society Competition and Young Musicians Foundation.

John Perry is a faculty member of the Colbourn School for Performing Arts, a frequent guest faculty member at the Banff Centre, artist-faculty member of the Aspen Music Festival, the Sarasota Festival and the Holland Music Sessions. During the academic year, he is a faculty member of the Thornton School of Music, the University of Southern California and The Glenn Gould School of The Royal Conservatory of Music in Toronto.

R. Murray Schafer
has earned a reputation as one of Canada's most important composers and music educators. His works have ranged from orchestral compositions and choral music to musical theatre and multi-media productions. He has won national and international acclaim not only for his musical compositions, but also as a dramatist, educator, environmentalist, literary scholar and visual artist. Born in Sarnia, Ontario, Mr. Schafer suppressed a youthful urge to become a painter to study music at The Royal Conservatory of Music and the University of Toronto and obtained a piano degree from the Royal College of Music in London, England. During his stays in Vienna and London between 1956 and 1961, he taught himself journalism, languages, literature, music and philosophy.

His diversity of interests is reflected by the enormous range and depth of such works as Loving (1965), Lustro (1972), Music for Wilderness Lake (1979), Flute Concerto (1984), and the World Soundscape Project, as well as his 12-part Patria music theatre cycle. His most important book, The Tuning of the World (1977), documents the findings of the World Soundscape Project, which united the social, scientific and artistic aspects of sound and introduced the concept of acoustic ecology.

His many honours include the Fromm Foundation Award in 1972, the Canadian Music Council Medal in 1972, a Guggenheim Fellowship in 1974, the William Harold Moon Award in 1974, the Composer of the Year Award from the Canadian Music Council in 1976, the Jules Léger Prize for New Chamber Music in 1977 (for String Quartet No. 2, Waves). In 1980, he received the Prix Honegger for String Quartet No.1 and in 1987 he became the first recipient of the triennial Glenn Gould Prize for Music and its Communication. In 1993, he received the Canada Council for the Arts Molson Prize and in 1999 he became the recipient of the Louis Applebaum Composer's Award. In 2005, he won the Walter Carsen Prize for Excellence in the Performing Arts. R. Murray Schafer also holds honorary doctorates from universities in Canada, France and Argentina.

A renowned teacher, acclaimed orchestral and chamber musician, and international soloist, Steven Staryk is considered a leading Canadian-born violinist of his generation. He has won the respect of his peers and of the critics for his virtuosity and orchestral leadership.

Mr. Staryk made his recital debut for CBC radio at 14 and at 17 he performed Paganini's Concerto No. 1 with the Royal Conservatory Orchestra at Massey Hall. In 1956, he was runner-up in the International Competition for Musical Performers in Geneva. He was runner-up again at the Carl Flesch International Competition in London.

Following the competition in London, he became concertmaster of the Royal Philharmonic Orchestra at the age of 24 - the youngest in its history. This earned him the title of the "king of concertmasters" from the prestigious Strad magazine. He went on to serve as concertmaster of the Concertgebouw Orchestra in Amsterdam, Amsterdam Chamber Orchestra, the Chicago Symphony Orchestra and the Toronto Symphony Orchestra.

Mr. Staryk is also a well known master teacher and has taught at the Amsterdam Conservatory, Northwestern University and the American Conservatory in Chicago. He became the youngest full professor at Oberlin College Conservatory in Ohio. He served as a head of the string department at the Vancouver Academy of Music and taught at the University of Victoria.

His other teaching positions include the University of Ottawa, the University of Western Ontario, The Royal Conservatory of Music and the University of Toronto. His teaching career culminated with the University of Washington in Seattle, which conferred on him its distinguished Teaching Award, the first ever given to a professor in its School of Music.

Mr. Staryk was a member of the Oberlin String Quartet, a founding member of Quartet Canada, led the CBC String Quartet and formed the Staryk-Perry Duo with pianist John Perry. Steven Staryk also served as the first Canadian adjudicator for the Tchaikovsky Competition in Moscow in 1982.

Media Contact:
Jack Kado, Director of Public Relations
Tel. 416-408-2824 ext. 461; email: jack.kado@rcmusic.ca



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FLIP Adds Muscle to its Music Division!

For Immediate Release: January 22, 2008
FLIP ADDS MUSCLE TO ITS MUSIC DIVISION
From Classical to Punk and everything in between!


FLIP Publicity & Promotions is thrilled to announce that music publicists Barbora Krsek and Mavis Harris have joined the FLIP team. Barbora will work with FLIP's classical music and choral clients, including the Toronto Symphony Orchestra, and Mavis will work with FLIP's contemporary music and performing arts clients, including North by Northeast (NXNE) Music and Film Festival & Conference.


A tireless promoter of classical culture, Barbora Kresk was publicist for the world-renowned Canadian Opera Company (COC), where she worked on the world premiere of The Golden Ass (libretto from Canadian literary lion Robertson Davies), on Francois Girard's award-winning production of Stravinsky's Oedipus Rex with Symphony of Psalms, and the COC's 50th Anniversary Celebration, all of which garnered international media attention. After promoting the COC to local, national and international media for several years, Barbora left the company to work directly with Canadian artists, including soprano Isabel Bayrakdarian, baritone James Westman, mezzo-soprano Krisztina Szabo and bass Alain Coulombe. She also worked with the legendary Niki Goldschmidt on The Joy of Singing Festival and the Benjamin Britten Festival, and managed publicity for the annual Arthur Ellis Awards for the Crime Writers of Canada.


Barbora's talent for communications extends beyond the realm of publicity. She is Associate Editor with Opera Canada magazine and speaks several languages, including Slovak, Czech, Russian and some Spanish. In her free time, Barbora enjoys listening to speed metal (just kidding-classical, opera and The King are her faves) and relaxing on a hot beach in the Dominican Republic.


Mavis Harris consumes music the way she consumes twizzlers - passionately, obsessively and voraciously! A graduate of Durham College's PR program, Mavis launched her career as an intern with FLIP, where she worked on projects such as Toronto Downtown Jazz Festival, UMOJA - The Spirit of Togetherness and Terracotta Warriors. Following her internship with FLIP, Mavis joined MapleMusic where, as publicist, she worked with artists such as Vinnie Paul, Tegan & Sara, Radiohead and C'MON. Mavis thrived in the fast-paced, ever-changing music business but was powerless to deny her inner FLIPster. And so, after three years with MapleMusic, Mavis returns to FLIP, bringing with her an encyclopedic knowledge of rock 'n' roll, a sassy wit and a "never-say-die" attitude. When she's not working, Mavis enjoys checking out new bands, hanging out at the Bovine and wrestling jigsaw puzzles into submission.


FLIP Publicity & Promotions is Canada's preeminent entertainment PR agency. Firmly ensconced in the world of theatre and performing arts, FLIP has expanded its music division to better serve its growing list of music clients including Cirque du Soleil, Paquin Entertainment, House of Blues, Show One Productions, Naomi Judd, Angela Hewitt, Dmitri Hvorostovsky, and artists from the Universal Music roster including Ron Sexsmith, Esthero and Collective Soul.


Media Contact:
Carrie Sager
President
FLIP Publicity & Promotions Inc.
720 Bathurst Street, Suite 403
Toronto, ON, Canada M5S 2R4
416.533.7710 X224 fax 416.533.7797
carrie@flip-publicity.com
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In Memoriam: Talivaldis Kenins

(Toronto, ON - January 22, 2008) The Canadian Music Centre regrets to announce the passing of one of Canada's pioneering composers Talivaldis Kenins. The eminent Canadian composer and professor emeritus of the University of Toronto's Faculty of Music passed away on Sunday night, at the age of 88.

Born in Liepaja, Latvia in 1919, Talivaldis Kenins was a child of parents eminent in the cultural and political life of that country. His father, Atis-a lawyer, educator, diplomat, politician, minister of Education and Justice-was also a poet and translator, while his mother, Anna, was a noted writer and journalist. Raised in this milieu, young "Tali" started piano studies at age five and his first compositions were written when he was eight.

He pursued formal education at the College de Menton and Lycée de Grenoble, France, where he received his "Bachelier des lettres" in 1939. He then pursued composition at the State Conservatory in Riga under Joseph Wihtol, but was forced to leave Latvia by the second Soviet occupation following World War II. He returned to France, and in 1945 entered the Conservatoire National Superieur de Paris, where his teachers included Simone Plé-Caussade, Tony Aubin and Olivier Messiaen. The student composer supported himself in postwar Paris by accompanying vocalists, serving as pianist for theatrical productions, and playing in dance bands. Despite these financial challenges, Kenins completed all course requirements, received the Perilhou, Gouy d'Arcy and Halphen music prizes, and graduated in 1950 with the "Grand Prix Laureate" in composition. Also in 1950, he was awarded a scholarship by the UNESCO International Music Council (which permitted a full-year of postgraduate work), and Herman Scherchen conducted his Septet (1949) at the Darmstadt New Music Festival later the same year.

Following his marriage to compatriot Vlada Dreimane, Kenins moved to Canada in 1951 to assume duties as organist and music director at St. Andrews Latvian Lutheran Church in Toronto. He joined the Faculty of Music at the University of Toronto the following year, teaching composition and contrapuntal techniques. Kenins was appointed full professor in 1973, and served as co-ordinator of the composition division between 1977-79. Among his many talented students are Edward Laufer, Walter Kemp, Bruce Mather, Imant Raminsh, and Arthur Ozolins as well as younger composers Tomas Dusatko, James Rolfe and Ronald Smith.

In addition to his academic duties, Kenins had been very active in Canada's professional musical life. He founded the Latvian Concert Association of Toronto in 1959, was an active member of the Canadian League of Composers for many years (and its president in 1973-4), and lectured on contemporary music and Canadiana at institutions, conferences and symposia around the world.

Kenins was the author of a great many works of chamber music as well as eight symphonies, twelve concertos, three cantatas, an oratorio, choral works and a number of educational pieces. The clarity of his musical expression and consistency of his craft have resulted in Talivaldis Kenins becoming one of our most commissioned and performed composers. His music has been included on numerous national and international festivals and he has been the recipient of many honours. Invested with the Champollion Silver Medal (Grenoble), created Officer of the National Three-Star Order of the Republic of Latvia, named Professor Emeritus by the University of Toronto after 32 years of distinguished teaching, appointed an Honourary Professor by the Music Academy of Latvia, Talivaldis Kenins became the subject of a film documentary prepared in 1990 by the Latvian Radio and Television Services. In 1989, a four-CD set devoted to Kenins' music was released by RCI as part of its Anthology of Canadian Music series, and in 2003 the Centrediscs recording label featured him in documentary and music as part of the Canadian Composers Portraits series of CD sets. In tribute to Kenins on his 75th anniversary, a major biography of the composer, written by Dr. Ingrida Zemzare, was published by Gara Pupa Editions in Latvia. The Canadian musicologist Dr. Paul Rapoport is currently working on an English-language book on Talivaldis Kenins.


The funeral will be held at St. Andrew's Latvian Lutheran Church, at the corner of Carlton and Jarvis, on Friday, January 25, at 1:00 p.m., with visitation the previous day from 1:00 to 3:00 p.m., and 6:00 to 8:00 p.m. at Roasar-Morrison on Sherbourne.with a reception to follow at the Canadian Latvian Centre. (Eglinton, just east of the Don Valley Parkway.)


Canadian Music Centre
Ontario Region
20 St. Joseph St.
Toronto, ON
M4Y 1J9
T. 416-961-6601 x. 207
F. 416-961-7198
E.
ontario@musiccentre.ca




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[Montreal] Offres d'emploi au Conseil des arts et des lettres du Québec

APPEL DE CANDIDATURES

Le Conseil des arts et des lettres du Québec cherche à combler les postes suivants pour son bureau de Montréal :

DIRECTEUR OU DIRECTRICE DE LA MUSIQUE ET DE LA DANSE

ADJOINT OU ADJOINTE ADMINISTRATIF(VE)

Le Conseil invite les personnes intéressées à consulter les offres d'emploi sur son site Web pour plus de renseignements concernant la nature des postes, les exigences requises, les conditions d'admissibilité et les renseignements pour soumettre leur candidature. Le Conseil accepte les candidatures jusqu'au 1er février 2008.
Le Conseil des arts et des lettres du Québec applique un programme d'accès à l'égalité et invite les femmes, les membres des minorités visibles et des minorités ethniques à présenter leur candidature.

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Chris Paul Harman wins 2007 Jules Léger Prize for New Chamber Music


[Ottawa] January 22, 2008 - The Canada Council for the Arts announced today that the work Postludio a rovescio by composer Chris Paul Harman is the winner of the 2007 Jules Léger Prize for New Chamber Music. Postludio a rovescio was commissioned in 2006 by the Nieuw Ensemble, and will receive its Canadian premiere under the baton of Robert Aitken on April 11 at Glenn Gould Studio in Toronto. It is the second time Mr. Harman has won the prize (the first time was in 2001 for Amerika).

Awarded annually in partnership with the Canada Council, Canadian Music Centre and the Canadian Broadcasting Corporation/Société Radio-Canada, the Jules Léger Prize for New Chamber Music is designed to encourage the creation of new Canadian chamber music and to foster its performance by Canadian chamber groups. The $7,500 prize was established in 1978 by the Right Honourable Jules Léger, then Governor General of Canada.

"Postludio a rovescio, scored for an instrumental ensemble favouring plucked instruments, is an elaboration of an earlier work I had composed for solo violin," said Mr. Harman. "The source material for both works is drawn from the Passacaglia for solo violin by Heinrich Biber. The title, meaning 'inside out postlude' in Italian, refers to the way in which many of the structural and gestural elements of Biber's original music have been 'inverted' in my own work."

The competition for the prize is administered by the Canadian Music Centre. The Canada Council funds the award, selects the peer assessment committee and organizes the prize presentation ceremony. Every year, the winning work is broadcast nationally by CBC Radio 2 and Espace musique, Radio-Canada's music network.

The prize will be presented to Mr. Harman on Friday, April 11 at 8 p.m. during a concert by New Music Concerts at Glenn Gould Studio, in the Canadian Broadcasting Centre in Toronto. Postludio a rovescio will be broadcast by CBC Radio 2 on the April 14 edition of The Signal, with host Laurie Brown, between 10 p.m. and 1 a.m. and on Espace Musique at a later date.

The members of the peer assessment committee for the 2007 Jules Léger Prize were violinist Jeremy Bell (Waterloo), composer Gregory Lee Newsome (Toronto) and composer Clark Ross (St. John's, NL). The committee was a "blind jury" which evaluated the works without knowing the names of the composers.

The jury said "this piece is a sonic tour-de-force, well-structured, and developing in a convincing and imaginative way. It is a truly impressive composition, filled with sonic treats that keep the listener's interest throughout."

The jury made a special mention of two other works submitted for the Jules Léger Prize. They described per essere fresco by Giorgio Magnanensi (Roberts Creek, BC) as "a unique, sonic melee of tremendous virtuosity, demonstrating a powerful artistic vision." This is the second consecutive year that Giorgio Magnanensi is the first runner-up for this work.

The jury also praised Nicole Lizée of Lachine, Quebec for her work This will not be televised which "assimilates elements of club/urban, pop and contemporary classical music in a fresh and convincing way."

Previous winners of the Jules Léger Prize include James Rolfe, Linda Catlin Smith, Patrick Saint-Denis, Éric Morin, Yannick Plamondon, André Ristic, Alexina Louie, Michael Oesterle, Omar Daniel, Christos Hatzis, John Burke, Peter Paul Koprowski, Bruce Mather, John Rea, Donald Steven, Michael Colgrass, Denys Bouliane, Michel Longtin,
Brian Cherney, John Hawkins, Walter Boudreau, Serge Garant and R. Murray Schafer.

Chris Paul Harman
Chris Paul Harman was born in 1970 in Toronto where he studied classical guitar, cello and electronic music with Barton Wigg, Alan Stellings and Wes Wraggett, respectively. His works have been performed by many ensembles and orchestras in Canada and abroad, including the Asko Ensemble, the CBC Radio Orchestra, the Esprit Orchestra, the Montreal Symphony Orchestra, the New Music Concerts Ensemble, the Noordhollands Philharmonisch, the Seoul Philharmonic Orchestra, the Tokyo Symphony, and the Toronto Symphony Orchestra.

In 1986, Mr. Harman was a finalist in the CBC Radio National Competition for Young Composers. In 1990, he was the Grand Prize Winner in that same competition for his work Iridescence, which was the selected work in the category for Composers under 30 years of age at the 1991 International Rostrum of Composers in Paris. At the International Rostrum of Composers in 2004, his Concerto for Oboe and Strings was chosen as a Recommended Work in the general category. As a result, both works have been broadcast in some 25 countries.

In 2001, Mr. Harman's work Uta received an honourable mention at the Gaudeamus International Music Week. The same year, his work Amerika was awarded the Jules Léger Prize and was short listed for the Prix de Composition de la Fondation Prince Pierre de Monaco.

In 2005, Mr. Harman was appointed Assistant Professor of Composition at the Schulich School of Music of McGill University in Montreal.

General information
In addition to its principal role of promoting and fostering the arts in Canada, the Canada Council administers awards and fellowships to over 200 artists and scholars annually in the arts, humanities, social sciences, natural and health sciences, and engineering. Among these are the Governor General's Awards in Visual and Media Arts, the Killam Prizes, the Killam Research Fellowships, the Canada Council for the Arts Molson Prizes, the Governor General's Literary Awards and the Walter Carsen Prize for Excellence in the Performing Arts. Other music awards include the Sylva Gelber Foundation Award, the Virginia Parker Prize, the Bernard Diamant Prize, and loans of fine stringed instruments through the Musical Instrument Bank.

For more information about these awards, including nomination procedures, contact Janet Riedel Pigott, Acting Director of Endowments and Prizes, at 613-566-4414, or 1-800-263-5588, ext. 5041, e-mail: janet.riedel@canadacouncil.ca; or
Carole Breton, Acting Endowments and Prizes Officer, at 613-566-4414, or 1-800-263-5588, ext. 4116, e-mail: carole.breton@canadacouncil.ca.

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Media Contact: Heather McAfee: 613-566-4414 or 1-800-263-5588, ext. 4523

E-mail: heather.mcafee@canadacouncil.ca

Donna Balkan: 613-566-4305 or 1-800-263-5588, ext. 4134

E-mail: donna.balkan@canadacouncil.ca

Visit our web site at www.canadacouncil.ca.

Tous les documents du Conseil des Arts du Canada sont offerts en français et en anglais.

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Sony BMG Masterworks Releases The Essential Leon Fleisher

Sony BMG Masterworks releases The Essential Leon Fleisher, a commemorative anthology that features highlights from his greatest recordings. A special digital-only edition, with exclusive bonus tracks, is available on iTunes.

The 2-CD set features recordings released for the first time on CD - the 1963 recording with the Juilliard String Quartet of the Scherzo from the Brahms Piano Quintet in F Minor and the opening movement (Molto Moderato) of the Schubert Sonata in B-Flat Major, Fleisher's first recording for Columbia Masterworks in 1954.

The pillars of the set are the opening tracks on each disc: the first movement of Beethoven's "Emperor" Concerto, which was recently inducted to the GRAMMY Hall of Fame, and on disc 2, the first movement of the Brahms Piano Concerto No. 1, which Yo-Yo Ma named one of his top five favorite recordings on NPR Music. Another highlight is the Brahms transcription of the Bach Chaconne, for left hand.

"Fleisher [is] one of the first American-born classical music stars." - Yo-Yo Ma
"...his musical mastery is beyond reproach." - Jason Victor Serinus, Stereophile
"... inspiring confidence and expressive power..." - Tim Smith, Baltimore Sun
"...a musician's musician." - Ben Finane, The Star Ledger

For an in-depth overview, listen to Tom Hall's interview feature with Fleisher on WYPR's Maryland Morning.
____________________________________________

To learn more about Leon Fleisher or Boss Sounds:

Nell Mulderry 212.741.7959 nell@bosssounds.com

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NACO, Jan. 30-31: principal oboe Charles Hamann solos in Strauss's Oboe Concerto with Pinchas Zukerman

National Arts Centre Orchestra / News Release

January 22, 2008

For immediate release

NAC Orchestra principal oboe Charles Hamann solos in Strauss's Oboe Concerto with Pinchas Zukerman on the podium on January 30-31

"The concert should not be missed because this concerto is arguably the greatest concerto written for our instrument and takes pride of place on the program with arguably the greatest symphony Mozart wrote, along with a sparkling overture by Handel featuring the dancing lines of a pair of oboes." - Charles "Chip" Hamann, NAC Orchestra principal oboe and soloist in the Richard Strauss Oboe Concerto.

Ottawa, Canada - The National Arts Centre Orchestra's superb principal oboe Charles "Chip" Hamann steps to the spotlight to perform Richard Strauss's magnificent Oboe Concerto under the baton of Music Director Pinchas Zukerman in Ovation Series concerts on Wednesday, January 30 and Thursday, January 31at 20:00 in the NAC's Southam Hall. The programme opens with Handel's Entrance of the Queen of Sheba and closes with Mozart's final symphonic masterpiece, the "Jupiter" Symphony No. 41.

There will be pre-concert talks in French offered at the NAC both nights at 19:00 by Montreal musicologist François Tousignant entitled "Des musiques démoniaques".

Soloist Chip Hamann has been eagerly waiting 20 years for the opportunity to play the Strauss Oboe Concerto. He says: "All three of the composers on the programme (Haydn, Strauss and Mozart) were great masters of vocal music, and in particular, opera. It is no coincidence, I believe, that all three also wrote oboe concertos that are considered among the masterpieces in the genre. The Strauss is the grandest and most distinguished of these concerti, with the kind of soaring melodies and long lines you think of in his great operas. Yet this concerto looks backward towards Mozart and Handel in terms of the forces used in the orchestra and in the textures, harmonic language, and interplay between soloist and orchestra... It's definitely Mozart's voice finding its way into Strauss's world in terms of transparency, clarity and use of orchestral colour."

Recognized as one of Canada's foremost oboists, Chip Hamann has been principal oboe of the NAC Orchestra since 1995 after acting in the position from 1993. This month he had the honour of being invited to join the Royal Philharmonic Orchestra of London as acting principal oboe on its 2008 North American tour led by Maestro Zukerman in cities across the U.S., including Chip's hometown of Lincoln, Nebraska! He participates annually in the Ottawa Chamber Music Festival, and has toured in Canada and in the United States with the National Arts Centre Wind Quintet. Charles Hamann's solo appearances include the Lincoln Symphony, Ottawa's Thirteen Strings, and Les Violons du Roy. He has appeared with NACO as soloist on many occasions.

In looking forward to the upcoming performance of the Strauss, Hamann adds: "To be able to collaborate with PZ on this piece is a special treat. He has such a way with the German Romantic tradition, and I can already see his sweeping gestures in the orchestral tuttis that will carry the orchestra and audience into Strauss's world... After our nearly ten years of making music together at the NAC, I'm sure there will be an instinctual understanding between us regarding how things should come together."

Tickets for these Ovation Series concerts on Wednesday, January 30 and Thursday, January 31 at 20:00 are on sale now at $19.00, $29.00, $49.00, $59.00, $69.00 with box seats at $83.00 (GST and Facility Fee included) at the NAC Box Office (Monday to Saturday from 10:00 to 21:00), and through Ticketmaster (with surcharges) at 613-755-1111. Ticketmaster may also be accessed through the NAC's website at www.nac-cna.ca.

Half-price tickets for students in all sections of the hall are on sale in person at the NAC Box Office upon presentation of a valid student ID card. Same-day Live Rush tickets (subject to availability) for full-time students (aged 13 to 29) are $10 at the NAC Box Office between 14:00 and 18:00 on the day of performance only, upon presentation of a valid Live Rush card.

Groups of 10 and more save 15% to 20% off the regular price of tickets to NAC Music, Theatre and Dance performances. To reserve your seats call 613-947-7000 ext. 384 or email grp@nac-cna.ca.

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Jane Morris

Communications Officer/Agente de communication

National Arts Centre Orchestra/Orchestre du Centre national des Arts

Telephone/Téléphone: 613-947-7000 x 335

Fax: 613-996-2828

www.nac-cna.ca

www.artsalive.ca

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s Hamann, hautbois solo de l'Orchestre du CNA, interprète le Concerto pour hautbois de StraussOCNA, les 30 et 31 janvier : Charle

Orchestre du Centre national des Arts / Communiqué

Le 22 janvier 2008

Pour diffusion immédiate

Charles Hamann, hautbois solo de l'Orchestre du CNA, interprète le Concerto pour hautbois de Strauss sous la direction de Pinchas Zukerman les 30 et 31 janvier

« C'est un concert à ne pas manquer, étant donné que ce concerto est sans doute le plus grand concerto écrit pour notre instrument et qu'il a l'honneur de partager l'affiche avec ce qui est probablement la plus grande symphonie de Mozart et avec une brillante ouverture de Haendel où se démarquent les lignes mélodiques dansantes d'une paire de hautbois. »

- Charles « Chip » Hamann, hautbois solo de l'Orchestre du CNA et soliste du Concerto pour hautbois de Richard Strauss.

Ottawa (Canada) - Charles "Chip" Hamann, le superbe hautbois solo de l'Orchestre du Centre national des Arts (CNA), prend l'avant-scène pour interpréter le magnifique Concerto pour hautbois de Richard Strauss sous la baguette du directeur musical Pinchas Zukerman, dans le cadre des concerts de la série Ovation des mercredi 30 et jeudi 31 janvier à 20 h à la salle Southam du CNA. En ouverture du programme, on entendra l'Entrée de la reine de Saba de Haendel, et les concerts se concluront par l'ultime chef-d'oeuvre symphonique de Mozart, la Symphonie « Jupiter » no 41.

Des causeries d'avant-concert en français, ayant pour thème Des musiques démoniaques, seront offertes au CNA les deux soirs à 19 h par le musicologue montréalais François Tousignant.

Le soliste Chip Hamann attendait depuis vingt ans l'occasion de jouer le Concerto pour hautbois de Strauss. « Les trois compositeurs au programme de ces concerts (Haydn, Strauss et Mozart) étaient de grands maîtres de la musique vocale et en particulier de l'opéra », fait-il remarquer. « Selon moi, ce n'est pas par hasard que ces trois compositeurs ont également consacré au hautbois des concertos qui sont considérés comme des chefs-d'oeuvre du genre. Le concerto de Strauss est le plus grand et le plus distingué de ces concertos avec ses mélodies exaltantes et ses longues lignes musicales qui rappellent ses grands opéras tels Der Rosenkavalier, Daphné et Arabella. Et pourtant, ce concerto rappelle Mozart et Haendel sur le plan des effectifs orchestraux et des textures, du langage harmonique et des échanges entre le soliste et l'orchestre... C'est vraiment la voix de Mozart qui se fraie un chemin dans le monde de Strauss et que l'on reconnaît à sa transparence, sa clarté et son utilisation de la couleur orchestrale. »

Reconnu comme l'un des plus brillants hautboïstes du Canada, Chip Hamann occupe le poste de hautbois solo au sein de l'Orchestre du CNA depuis 1995, après avoir assumé les mêmes fonctions par intérim dès 1993. Ce mois-ci, il a eu l'honneur d'être invité à se joindre à la tournée américaine de janvier 2008 du Royal Philharmonic Orchestra de Londres, dans le poste de hautbois solo intérim sous la direction de Pinchas Zukerman. L'orchestre s'est produit notamment à Lincoln (Nebraska), ville natale du hautboïste! Il participe annuellement au Festival de musique de chambre d'Ottawa, et a fait plusieurs tournées au Canada et aux États-Unis avec le Quintette à vents du Centre national des Arts. Il s'est produit maintes fois comme soliste avec l'Orchestre du CNA, et a aussi été soliste notamment avec le Lincoln Symphony, Thirteen Strings d'Ottawa et Les Violons du Roy.

« Je me sens tout spécialement privilégié de pouvoir collaborer avec Pinchas Zukerman pour interpréter cette oeuvre », se réjouit-il en référence au Concerto de Strauss. « Il a une façon particulière de diriger les oeuvres de la tradition romantique allemande, et je peux déjà imaginer les gestes amples qu'il aura dans les tutti orchestraux pour transporter l'orchestre et l'auditoire dans le monde de Strauss... Depuis pratiquement dix ans, nous faisons de la musique ensemble au CNA, et je suis certain que nous trouverons instinctivement et d'un commun accord de quelle manière interpréter cette oeuvre. »

Les billets pour ces concerts de la série Ovation des 30 et 31 janvier sont en vente maintenant au coût de 19 $, 29 $, 49 $, 59 $, 69$ pour une place dans la salle, et à 83 $ pour un fauteuil dans les loges (TPS de 6 % et frais d'établissement inclus), à la Billetterie du CNA (du lundi au samedi de 10 h à 21 h) et, par l'entremise de Ticketmaster (frais de service en sus), au 613-755-1111 ou en ligne, sur le site Web du CNA à l'adresse www.nac-cna.ca.

Les étudiants peuvent se procurer des billets à moitié prix pour toutes les sections de la salle en se présentant en personne à la Billetterie du CNA, munis d'une carte d'étudiant en règle. Les billets Buzz en direct disponibles le jour même (s'il en reste), réservés aux étudiant à temps plein de treize à vingt-neuf ans, sont vendus 10 $ à la Billetterie du CNA, de 14 h à 18 h le jour du concert seulement, sur présentation d'une carte de membre Buzz en direct dûment enregistrée.

Les groupes de dix personnes et plus épargnent de 15 à 20 p. cent du prix courant des billets pour toutes les représentations de Musique, de Théâtre ou de Danse du CNA. Réservations : 613-947-7000, poste 384, ou grp@nac-cna.ca . Il est encore possible de s'abonner en communiquant avec le Bureau des abonnements au 613-947-7000, poste 620.

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Jane Morris

Communications Officer/Agente de communication

National Arts Centre Orchestra/Orchestre du Centre national des Arts

Telephone/Téléphone: 613-947-7000 x 335

Fax: 613-996-2828

www.nac-cna.ca

www.artsalive.ca

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Monday, January 21, 2008

Canadian artists release their platform on copyright reform

C.C.C.: Creators' Copyright Coalition

http://www.creatorscopyright.ca/

COPYRIGHT REFORM KEY PROTECTION FOR CANADA'S ARTISTS

FOR IMMEDIATE RELEASE

January 21, 2008

TORONTO: Canadian artists have released their platform on copyright reform in anticipation of the Canadian government's expected new copyright legislation. You will find it attached.

The result of months of research and study, the Creators' Copyright Coalition position paper outlines the reforms that creator groups would ideally like to see in Canadian law.

Members of the CCC believe that the making of art and contemporary Canadian culture is a vital part of life, and an essential ingredient of the information economy. If the new copyright reforms enhance and protect the rights of creators, then it will encourage art, contribute to our culture and enrich the lives of all Canadians.

"Without protection for performers and creators, we risk more than harming our international reputation, we risk damaging our industry at large. It's in the public interest that artists and their work be protected so they can earn a living wage and contribute to our culture and economy," said Stephen Waddell, ACTRA National Executive Director.

John Degen, novelist and Executive Director of the Professional Writers Association of Canada: "I believe Canada can have a strong copyright law protecting the work and careers of all professional creators, while fairly and reasonably addressing the concerns of both corporations and consumers. The CCC statement is meant as a step in that direction."

Stan Meissner, songwriter, past president of the Songwriters Association of Canada: "While the digital age has offered music creators wonderful opportunities, it is clear that the rampant unpaid online consumption of music and other content has had a devastating effect. We need up-to-date copyright legislation that will protect the value of our rights, ensuring us a future where creators will be compensated for the use and enjoyment of our work."

Bill Freeman, the chair of the CCC, said: "Creators have been waiting far too long for copyright reform. It is time to protect the rights of all authors and performers in the Internet age."

The Creators Copyright Coalition (CCC) is an alliance of 16 professional associations of individual creators and performers and copyright collective societies active in the theatre, the visual arts, the applied arts, literature, music, recording and audiovisual (radio, television, film and commercials). Together these 16 associations and collectives represent more than 100,000 creators (authors and performers) who are copyright owners.

Contact: Bill Freeman, Chair, CCC, 416 203-2956

John Degen, PWAC: 416- 504-1645


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