Intersections

Vol. 28, No. 1 (2007)
Publication Date: 2008-11-05
Number of articles: 14

Editorial

How to win at SSHRC - PDF through Erudit

Author(s)/Auteur(s): Murray Dineen

Introduction

La musique dramatique au Canada - PDF through Erudit

Author(s)/Auteur(s): François de Médicis; Murray Dineen

Articles

Something to Sing About: A Preliminary List of Canadian Staged Dramatic Music Since 1867 - PDF through Erudit

Author(s)/Auteur(s): Mary Ingraham

L’impact des politiques institutionnelles sur la création d’opéra au Canada entre 1980 et 2003 : Les cas de Montréal et Toronto - PDF through Erudit

Author(s)/Auteur(s): Sophie Bisson

Analysis of the various programmes offered by the Canada Council for the Arts reveals that government financial aid is not sufficient to allow for the consistent creation of operatic works. This is further borne out by studies of the operations of various professional organisations that benefit from these programmes (including professional and university workshops), as well as all the mechanisms that surround the premiere of a new opera (from its commissioning to its first staging). In sum, most of the funds are used to meet operating costs of the country’s various operatic organisations. In order for Canadian opera to thrive, composers must turn to lyrical companies and not opera houses.

Barnardo Boys - PDF through Erudit

Author(s)/Auteur(s): Robin Elliott

The opera Barnardo Boys, with music by Clifford Crawley and libretto by David Helwig, was premiered in Kingston, Ontario in May 1982. Inspired by the example of Benjamin Britten, the creators of the opera regarded community involvement and cooperation between amateurs and professionals as essential to the production of the work. There was only one imported professional singer in the cast—Jan Rubes, who was hired to play the lead role of Albert Ashby. Both the libretto and the music of the opera make use of a combination of pre-existing and newly created source materials. This approach is seen to be typical of a Canadian preference for the genre of documentary opera, which parallels an engagement with historical fiction on the part of Canadian novelists.

Pathways And Pilgrimages: The In-Between Spaces in the Patria Cycle - PDF through Erudit

Author(s)/Auteur(s): Kate Galloway

In R. Murray Schafer’s Patria cycle (1966–), movement, both choreographed and improvisational—to the performance, between spaces within the performance, and within the fabrication of the performance—allows the audience to actively participate. These in-between spaces of movement are as much performance space as is the final site of the production, extending the performance beyond the confines of the theatre. Drawing on examples from The Princess of the Stars, The Enchanted Forest, and The Greatest Show, this article examines two states of in-betweenness: first, the pilgrimage to the performance, and second, the pathways that link performance experiences.

Opera as Trans-Atlantic Culture in Pre-Confederation British North America: Mozart’s “Crudel! perchè finora” on an 1844 Toronto Concert Programme - PDF through Erudit

Author(s)/Auteur(s): Kristina Guiguet

Why was Mozart’s duet, “Crudel! perchè finora” (Le Nozze di Figaro, III (i)) among the operatic excerpts sung by amateur and professional musicians at Mrs. Widder’s private Toronto soirée musicale? Typically Victorian, the formal programme for this musical party mixed opera with glees, popular ballads, and instrumental music, but the Mozart duet is rarely found on such programmes. The British hostess may have relied on her socially prominent audience in colonial Canada to recognize that her concert echoed the programming practices of London (England), as she positioned the concert to support her husband’s politically-sensitive land development plans. This example of trans-Atlantic culture suggests that Victorian amateur concert programmes are useful sources for audience reception history.

Report/Compte rendu

Report—Centre and periphery, roots and exile: Interpreting the music of István Anhalt and György Kurtág. Centre et périphérie, racines et exil : L’interprétation de la musique d’István Anhalt et de György Kurtág. Rozsa Centre, University of Calgary January 22–25 janvier, 2008 - PDF through Erudit

Author(s)/Auteur(s): Friedemann Sallis

Book Reviews/Recensions

Jean-Louis Leleu et Pascal Decroupet, éd. 2006. Pierre Boulez : Techniques d’écriture et enjeux esthétiques. Genève : Éditions Contrechamps. 326 p. ISBN 978-2-940068-23-2 (couverture souple). - PDF through Erudit

Author(s)/Auteur(s): Brice Tissier

George et Ira Gershwin. 2000. Pardon My English: Vocal Score. Édité par Steven D. Bowen. Paroles et musique de George et Ira Gershwin. Livret de Herbert Fields et Morrie Ryskind. Miami, Floride : Warner Bros Music Corp. xxiii, 357 p. ISBN 0-7692-9201-1, ISBN 978-0-7692-9201-4 (couverture rigide). - PDF through Erudit

Author(s)/Auteur(s): Luc Bellemare

Elaine Keillor. 2006. Music in Canada: Capturing Landscape and Diversity. Montreal: McGill-Queen’s University Press. xii, 499 p. ISBN-10 : 0-7735-3177-7 et ISBN-13 : 978-0-7735-3177-2 (couverture rigide et disque compact). - PDF through Erudit

Author(s)/Auteur(s): Claudine Caron

Carl Wilson. 2007. Let’s Talk About Love: A Journey to the End of Taste. New York: Continuum. 164 pp. ISBN 13: 978-0-8264-2788-5 (paperback). - PDF through Erudit

Author(s)/Auteur(s): Christopher Cwynar

Letter to the Editor - PDF through Erudit

Author(s)/Auteur(s): David Huron

Contributors / Collaborators - PDF through Erudit

Tous droits réservés © Canadian University Music Society / Société de musique des universités canadiennes, 2007

MusCan Office

MusCan is led by a committed community of volunteers from across Canada. You can contact our secretariat by mail, phone, or email.

10 Morrow Avenue, Suite 202
Toronto, ON
M6R 2J1
Canada
416-538-1650
office [AT] muscan.org