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From Russia to Riverdale:
The Pianism of Boris Zarankin and Inna Perkis-Zarankin

Greektown.

Calgary has one. Detroit has one. Greece has...duh. But anyone who has seen My Big Fat Greek Wedding knows that Toronto’s Greektown ranks among the best in the world. Standing at the corner of Danforth and Logan - in the heart of Toronto’s Riverdale neighbourhood – you’ll see the exact location where Nia Vardalos  found her true calling as a travel agent, and then, of course,  met the love of her life. (But don’t stand there dreaming for too long – remember:  it only happens in the movies!)  As you inhale the intoxicating aromas wafting from the local tavernas, close your eyes, and listen carefully – very carefully. You might hear the familiar strains of...Mozart? Beethoven?? Liszt???

Recently, I had the pleasure of attending a piano master class at the home and studio of Boris Zarankin and Inna Perkis-Zarankin.  Located on a beautiful tree-lined street, just steps from  Danforth Avenue, their home is nothing less than a sanctuary for Music and Art. As one passes through their house, one admires the many Russian paintings that adorn the walls, providing a visual counterpoint to the three grand pianos which grace their home. On the Saturday evening that I attended, about twenty people were gathered around a stunning 19th century Bechstein piano. A third of the audience would be performing that evening; the rest of us – professionals and nonprofessionals – were there to listen, learn and enjoy.  The music we heard that evening included works by Mozart, Beethoven, Ravel and Liszt.  The quality of playing ranged from “good” to “utterly professional” – the latter used to describe a sublime rendering of the rarely played Liszt transcription of the Liebestod aria from Wagner’s opera Tristan und Isolde, performed by their own student, Ricker Choi (www.rickerchoi.com). To watch Boris and Inna work with each performer is to observe a rare co-mingling of musical minds and talents. Before our eyes and ears, they helped each student to connect with the music, by demonstrating at the keyboard, as well as through the use of vivid imagery and humour. For me, it was a master class in listening. It reminded me of the restorative power that music and art can have on us – call it, “souvlaki for the soul.” (Evidently, those restorative powers do not always extend to creative writing!)

And the next time you find yourself dining on the Danforth, consider dressing up that platter of calamari with some Clementi!  Add a dash of Mozart to your moussaka! And enjoy!

Keep the Faith!

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Dragon in the Rocks...rocks!!!!!!!!

Q. : What do you get when you toss some pie sellers, shopkeepers, fossil collectors
           and dinosaur bones into a giant musical blender?

A. : You get the world premiere of a frothy musical concoction called Dragon in the
           Rocks, a new opera created by Marie Day (original story and libretto) and
           Alexander Rapoport (music) for the Canadian Children’s Opera Chorus.

Braving Toronto’s worst snowstorm of the season, I attended one of eight March Break performances of this spirited new work which, appropriately enough, took place inside the Royal Ontario Museum (www.rom.on.ca).  The CCOC was founded in 1968, to provide a stable source of child singers for productions of the Canadian Opera Company. The choral experience and musical literacy gained by these young singers are enhanced by the dramatic training they receive (www.canadianchildrensopera.com).

Marie Day based her story, Dragon in the Rocks, on the true-to-life adventures of Mary Anning (1799-1847) who, at the age of twelve, excavated the first complete ichthyosaurus skeleton. The music, composed by my friend and RCME colleague, Alexander Rapoport, was a pleasing blend of arioso-style melodies, sung beautifully by these talented young performers. His jig and hornpipe rhythms helped to capture the spirit of the small Dorset community in which the action takes place. Additional choral forces standing on the sidelines allowed for some delightful antiphonal effects. All were held together by the exceptional playing of a five-member chamber ensemble, comprised of violin, cello, clarinet, French horn and keyboard.

Watching and listening intently that snowy afternoon, I was happily reminded of another “children’s opera”, Purcell’s masterpiece Dido and Aeneas. First performed at an all-girls’ school in Chelsea in 1689 – (no, I did not attend that premiere) - , Dido also contains divided choruses, jaunty reels – even “battleaxes”, in the guise of witches. Alas, Dragon on the Rocks had one delightful element – one felix culpa – of which Purcell could be envious: below the museum’s auditorium, one could hear the primordial rumblings of our modern-day dinosaurs - the subway trains - as they coiled through their subterranean lairs. A brilliant contrapuntal effect for which the TTC – for once - should be congratulated!

Keep the Faith!
 

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An “A-Fair” to Remember: The Music of Douglas Schmidt

The dictionary defines synchronicity  as “ the coincidental occurrence of events that seem related but are not explained by conventional mechanisms of causality.”

Last night at the Jane Mallett Theatre (Toronto) I had the pleasure once again of attending a concert given by the Esprit Orchestra, Canada’s only full-size orchestra dedicated to the performance of contemporary and new music. Its musical director and conductor, Alex Pauk, lead the orchestra in brilliant readings of works by Harry Somers (Canada), Claude Vivier (Canada) and Philip Cashian (England). The highlight of this evening’s program was, for me, the world premiere performance of “A-Fair”, by the British Columbia-born composer Douglas Schmidt. As the composer writes: “A-Fair” is inspired by thoughts of going to the Interior Provincial Exhibition fair rides in central B.C. when I was 12 years old.” The titles of the six movements made me nostalgic for my own childhood, when I lived for going on the midway rides every year during the Canadian National Exhibition in Toronto. His musical interpretations of rides with names such as “Helevator” and – my absolute boyhood favorite, the “Wild Mouse” – left the child-in-me feeling exhilarated and giddy.

“A-Fair” is a vibrant musical midway for the ears, providing an adrenaline rush for armchair thrill seekers like myself. Tonight’s concert was recorded for future broadcast on CBC Radio 2; check local listings for air times.

Synchronicity? Douglas Schmidt and I met over 30 years ago, as fellow accordionists, through our rich association with accordion-pioneer, Joseph Macerollo. Today, Douglas is recognized as a world-class performer on the bandoneon, the Argentinian cousin of the accordion. Check out his sultry interpretation of Astor Piazzola’s Milonga del Angel – yes, the same piece you played on your Grade 8 piano examination – featured on Tango Paradiso’s 2007 recording, “Passion”. (see Vancouver’s Turner Music and Events)

Chatting briefly after the concert, Douglas and I decided it would be nice to reconnect over lunch this week. Inquiring as to where he is staying, I discovered that he is in the same hotel over which my condominium is built.

Synchronicity.

Keep the Faith!
 

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Barsky, the Importance of Seeing Barbara

I just came in from seeing the world premiere of Ernest, the Importance of Being, a new operetta by Victor Davies and Eugene Benson. Kudos to its creators and to the entire cast! Davies’ scintillating score was champagne to the ears – while Eugene Benson’s libretto captured all of the biting wit that was Oscar Wilde.

Special praise and congratulations go out to my longtime friend Barbara Barsky for her portrayal of Lady Bracknell. I admit that over the years I’ve become something of a Barbara Barsky groupie, taking in her performances whenever and wherever I can. I howled at her raunchy portrayal of Miss Pennywise in the Vancouver production of Urinetown (Nov ‘ 06), while at the other end of the emotional spectrum, her rendition of “14 Dwight Avenue” in William Finn’s Elegies (Toronto, Feb ‘07) reduced me to tears. But I was never more moved – or grateful - than when Barbara sang “The hills are alive with The Sound of Music” as a birthday present to my parents – a performance made all the more poignant because it was given in the palliative ward of our local hospital.

How can YOU become a Barbara Barsky groupie? You can start by listening to her nuanced performance of “LittleLivesLost” (from the musical Larry’s Party) at www.mareknorman.com (Marek – The Phoenix loves you, man!). In the meantime I promise to keep you all posted as to when we can look forward to seeing/hearing her again.

Keep the Faith!