Monthly Archives: October 2012

Mooredale Concerts Present the New Orford String Quartet: review by Stanley Fefferman

October 28, 2012. Walter Hall, Toronto. The New Orford String Quartet goes boldly. They chose a program of three works that open by disturbing the peace. Haydn’s Quartet in D Major, Op. 20. No. 4 (1772) with Andrew Wan in … Continue reading

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The sound of greatness: Valery Gergiev and the Stradivarius Ensemble at Toronto’s Koerner Hall

October 27, 2012. Koerner Hall, Toronto. The Mariinsky Orchestra are great, because Valery Gergiev arranges a schedule that only the great could sustain… Their current Canada/US tour brings 28 of the orchestra’s core strings, renowned as the Stradivarius Ensemble, to … Continue reading

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Opera Atelier Hits the Mark with C.M von Weber’s Der Freischütz: a Review by Stanley Fefferman

  October 27, 2012. Elgin Theatre, Toronto Twenty some years ago, Opera Atelier broke new ground by staging a period performance of Mozart’s The Magic Flute. Last night they broke out again by staging their first period performance of a … Continue reading

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Philharmonia Quartett Berlin Brings Balance to Music Toronto: Review by Stanley Fefferman

October 11, 2012. Jane Mallett Theatre, Toronto. The qualities of this stellar ensemble from the Berlin Philharmonic Orchestra emerge in succession like evening stars. First is the balance of  individual voices, each clear, all controlled. Then comes the plummy, warm … Continue reading

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Four Seasons Centre for the Performing Arts Christopher Alden goes batty for the Canadian Opera Company’s Die Fledermaus

It took me a while to warm to Director Christopher Alden’s revisionist production of the Johann Strauss Jr.’s chestnut and whipped cream torte of an operetta, but gradually the outrageous battiness of it won me over. Then, there is, and … Continue reading

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Anne-Sophie Mutter Very Present at the TSO reviewed by Stanley Fefferman

Anne-Sophie Mutter commanded the Roy Thomson Hall stage  by her presence.  She performed as soloist twice in the program she herself had selected. She chose Sophia Gubaidulina’s concerto “In Tempus Praesens” because it was commissioned for her; the Bach Violin … Continue reading

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