| rev:text
| - First let me disclose, I'm a fair-weather symphonic fan. When I was younger, I played in the Toronto Youth Symphony, and even worked for the TSO indirectly through Arts Marketing (a telemarketing company). I also admit I'm more a John Williams (of Star Wars, the Olympic theme and many countless movies fame) and Tchaikovsky fan than say a Mahler or Schubert. Essentially, I'm more Boston Pops than London Symphony. And maybe that's the crux of my issue, that we lack a pops group in Toronto. I go to the symphony about 3-4 times a year, and I much prefer the new hall at the Royal Conservatory (Koerner Hall) vs Roy Thompson.
Last night I was able to convince a bunch of friends who are non-symphonic fans to see the last night of the New Creations Festival. I know New Creations are generally geared towards the hard core goers, but my message is, there aren't many left, and they'll all soon be gone!
This review isn't a about the musicians nor the choir, but the composers and choices made by Peter Oundijan the conductor and host. The program "Plus Forte" included a piece by Osvaldo Golijov: The Last Round, a 20-minute opera Gerald Barry: La Plus Forte (Canadian première) sung by soprano Barbara Hannigan, and Jacques (c) Hétu: Symphony No. 5, Op. 81 (TSO Commission/World première).
Barbara was great, and the TSO was good, but as my friends described the night, no one would have known the difference if they played the wrong notes. Again, I know its not pop, but you would not describe any of the pieces as memorable, and it was a struggle for my entire section to keep their head up. Row after row, couple after couple heads were down as boredom en-shrewed. The majority of my section went because there was a special pricing plan of $8, which managed to bring out many people who weren't regulars, however, unfortunately, this event also lost these people for good.
There's an article today in the UK times online (http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/classical/article7048605.ece) about how to sell Classical music to the masses. My advice to Peter is, it's time to move away from the rules set up based in the 19th Century. If an event like "Star Wars" live can sell out an arena, why can't the TSO embrace popular, accessible music? If the classics require the likes of Anna Netrebko to help sell it, so be it. I would have hoped that the TSO learned from their last labour disruption and realized they were no longer relevant to todays audience. I know some changes have been made, but much more needs to be done.
At a time when Classical music is being used as a punishment to children (http://reason.com/archives/2010/02/24/weoponizing-mozart), it's time blow up how everything is structured, and what is being selected. I was at the Tan Dun event where he utilized videos he captured of northern Chinese throat singers, and the "rock" musician and mixed it in with his symphonic creation. He was able to capture some of the imagination of the new comers alike.
At the end of the day, maybe I'm just advocating for the return of a Toronto Pops Orchestra.
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