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SIGNATURE Contents Volume 27, Number 3 | DECEMBER 2011


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pg. 6


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(Eddins, Petrov, Waldin, Buchmann, Rival) PUBLISHED FOR the Edmonton Symphony Orchestra at the Francis Winspear Centre for Music 9720 102 Avenue, Edmonton AB T5J 4B2 Administration: 780-428-1108 Box Office: 780-428-1414 E-mail: Website:




2011/2012 SEASON



Letters to the editor, comments and/or suggestions are welcome.



Robert Bernhardt, conductor Mireille Lebel, mezzo-soprano Greenwood Singers, Cantilon Chamber Chorus, U of A Fac. of Education Handbell Ringers, Dancers from Victoria School 19

Ruth Kelly Joyce Byrne Michelle Lindstrom Charles Burke Andrea deBoer Colin Spence Anita McGillis Serap Ozturk

ON THE COVER: The Edmonton Symphony Orchestra unveils its annual parade of holiday concerts, including the return of contemporary Christian recording star Michael W. Smith (see pages 19 & 20).


pg. 19


pg. 21

William Eddins, conductor Linda Perillo, soprano Frances Jellard, mezzo-soprano John Tessier, tenor Nathan Berg, bass-baritone Òran, i Coristi Chamber Choir and U of A Madrigal Singers

Symphony Orchestra, is published from September to June. Contents copyright 2011 by Edmonton Symphony Orchestra/ Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission.

pg. 15

CHRISTMAS SPECIAL A MICHAEL W. SMITH CHRISTMAS (DECEMBER 6 & 7) Michael W. Smith, special guest David Hamilton, conductor L’Angelus, special guests

Signature magazine, the official publication of the Edmonton


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Longstanding patrons take us back in time with the ESO by Michelle Lindstrom


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Stuart Chafetz, conductor Nathan Berg, bass-baritone Richard Eaton Singers Alicia Hui, guest concertmaster

Gabriella Bergsten’s reasons for her dedication to the ESO Outgoing Board of Directors Chair looks back on the past four years



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Edmonton Recital Society 2011-2012

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celebrate our past – but in this issue of Signature, we get to focus on how we have been a part of your past. We are so grateful to the many patrons and donors who have been part of the ESO family for so many years and have even carried that tradition on with succeeding generations. We love seeing parents and grandparents bringing their young ones to performances in our ESSO Symphony for Kids series – especially when those grandparents are ones we know from other ESO performances (see pages 10 - 12). The fact you have chosen to share your precious time with us and your families by instilling and nurturing a love for orchestral music is very gratifying to us. It also makes us realize you are helping foster a love and appreciation for an art form that will last a lifetime and encourage generations to come.

The following individuals are gratefully acknowledged for their support for our Carnegie Hall quest, either through sponsoring a Musician’s Dream or by a donation to the Carnegie Fund. Anonymous (2) Eileen Abrams Gail Andrew Audrey Andrews Angus Watt Dick & Heather-Jane Au Rhonda Baker Gabriella Bergsten Robert Bhatia Paddy Brine & Wes Schmidt Joyce Buchwald Carolyn Campbell David & Carol Cass Ross Clemenger CN Maria David-Evans In honour of Maria DavidEvans Elizabeth Donald Mike & Sharon Duff Ronald & Patricia Dutchak Grant Edmondson Fab Five Business Women’s Initiative Janet Fayjean Eleanor Finger Catherine Gibson Margaret Hartwell Mark and Nancy Heule Hilton Garden Inn George Hislop Leanna Howden Elizabeth Hurley Garnet Ireland Darcy & Barbara Koshman Carol-Ann Kushlyk Zonia Lazarowich Diversity Technologies Corp in honour of Annelies LePoole Steven and Day LePoole LUBE-X - Shirley & Jim Funk DECEMBER 2011

Lloyd & Lynn Malin Bev Martin Phyllis McAnally Muriel McIntosh Ruth P. McKinley MNP LLP Melcor Developments Ed and Joy-Ruth Mickelson Joyce Mienhart Karen and Wally Might Arliss Miller John and Maggie Mitchell Peter & Carol Moeykens Reinhard & Elisabeth Muhlenfeld Donna Naylor Jim & Sherry Noyes Jack Ondrack Joanne Pawluk PCL Constructors Ltd. Mathilde Poulsen Bill and Mary Jo Robbins Maureen Saunders Marianne and Allan Scott Elizabeth Scott Vici Seibt Pat Sharp Jacqueline Smith Jean A Stephen Dr. Barbara Stewart Monte H. Stout Sir Francis Price and Hon Marguerite Trussler University of Alberta Alumni Association Valerie & Barry Walker Rachel Warhaft Levern & Arlene Wasylynchuk In memory of Gerry Youell Ralph & Gay Young

We wish you and all your family a warm and safe holiday season. Thank you for letting us be part of your Christmas cheer, enjoying the magical music only this time of year brings. William Eddins

Annemarie Petrov

ESO / Winspear Centre Vision: Providing outstanding music experiences for individuals, families and the community and a place where those experiences evoke the height of personal emotion, adventure and excitement.


TART SPREADING THE NEWS… your Edmonton Symphony Orchestra will create Edmonton history on May 8, 2012 when they perform for the first time on the legendary stage at Carnegie Hall in New York City. As the only Canadian orchestra invited to take part in the second annual Spring for Music Festival at Carnegie Hall, this landmark event is a major part of the ESO’s celebration of its 60th anniversary season.

You’re invited to witness music history … fans of the Edmonton Symphony Orchestra are invited to travel along to New York City to celebrate this musical milestone. A number of excited music fans have started confirming their travel arrangements. For travel and ticket information, contact Paull Travel (the ESO’s official Home Town Fan Travel Agency) at 780-428-6031. Carnegie Hall Trip fundraising … sending a full orchestra plus special performing guests to New York City requires dedicated fundraising efforts. To learn about donation programs, including how you can sponsor a musician’s dream to perform at Carnegie Hall, please contact Eleanor Finger, Patron Relations Manager at 780-401-2578. SIGNATURE 5

W A ARTISTIC & LEADERSHIP TEAM ILLIAM EDDINS, presently in his seventh season as Music Director of the Edmonton Symphony Orchestra, has a captivating energy and magnetic stage presence that will continue to propel the orchestra through the 2014-2015 season. His commitment to the entire spectrum of the ESO audience brings him to the podium for performances in every subscription series, as well as for a wide variety of galas and specials. A distinguished and versatile pianist as well, Bill Eddins was bitten by the conducting bug while in his sophomore year at the Eastman School of Music. In 1989, he began conducting studies at the University of Southern California with Daniel Lewis, and Assistant Conductorships with both the Minnesota Orchestra and the Chicago Symphony (the latter under the

leadership of Daniel Barenboim) followed. While conducting has been Eddins’ principal pursuit, he continues to perform on piano. In 2008, he conducted a rare full staging of Gershwin’s Porgy and Bess for Opéra Lyon, leading to a repeat engagement in Lyon in July 2010. This past August, Bill had the privilege of conducting the opera once again at the Edinburgh International Festival, and returns to both Lyon and London in September 2010 for additional engagements. Other international highlights include an August 2009 tour of South Africa, where Bill conducted three gala concerts with soprano Renée Fleming and the kwaZulu-Natal Philharmonic Orchestra.


UCAS WALDIN continues his tenure with the

Photo: Douglas Dollars

ESO as Enbridge Resident Conductor, under the mentorship of Bill Eddins. Now in its third season, this appointment is funded in part by the Canada Council for the Arts as well as the Enbridge Resident Conductor Program, and supports the ESO’s vision and focus on music education at all levels. A graduate of the Cleveland Institute of Music, having earned both a Bachelor of Music Degree in Flute Performance and Masters in Conducting, Mr. Waldin has performed with L’Orchestre du Festival Beaulieu-Sur-Mer (Monaco), Staatstheater Cottbus (Brandenburg), and Bachakademie Stuttgart. He was assistant conductor of the contemporary orchestra RED (Cleveland), director of the Cleveland Bach Consort, and a Discovery Series Conductor at the Oregon Bach Festival. In 2007, he conducted the

Resident Conductor program generously supported by


RIC BUCHMANN studied violin at the

Conservatoire de Montréal and at the Université de Montréal where he earned a Bachelor of Music and a DESS degree. In 2001, he moved to Los Angeles to continue his studies at the University of Southern California. Two years later he joined the New World Symphony in Miami Beach where he played under the direction of Michael Tilson Thomas and many other music directors from all over the world. His violin teachers include Sonia Jelinkova, Vladimir Landsman, Jean-François Rivest,


Miami-based New World Symphony Orchestra in masterclasses given by Michael Tilson Thomas, and also participated in a masterclass with the Lucerne Festival Strings, led by Bernard Haitink, in 2009. A native of Toronto, Lucas Waldin has spent summers studying in Europe, including studies at the International Music Academy in Leipzig, the Bayreuth Youth Orchestra, and the Acanthes New Music Festival in France. In North America, he has studied under the renowned Bach conductor Helmut Rilling at the Oregon Bach Festival, and has attended conducting masterclasses with the Tafelmusik Baroque Orchestra in Toronto.

Rachel J Photography


William Preucil and Martin Chalifour. Eric Buchmann joined the first violin section of the Edmonton Symphony Orchestra in 2006, and was appointed Assistant Concertmaster following auditions in 2009. Eric performs occasionally with the ESO as a soloist, and is also a member of the Alberta Baroque Ensemble under the direction of Paul Schieman. When not playing with the orchestra in Edmonton, you can find him with his family in Montréal or Switzerland. Travelling is one of his passions.

William Eddins, Music Director

Photo: Douglas Dollars




Director of the Edmonton Symphony Orchestra (ESO) and Francis Winspear Centre for Music, brings more than 25 years of experience to a role that oversees one of Alberta’s flagship performing ensembles and one of the world’s premier concert halls. With a combined annual budget of over $12 million, Annemarie supervises day-to-day operations, long-term planning, government relations and community support of both organizations.


OBERT RIVAL, born in Calgary, joins the Edmonton Symphony Orchestra as Composer in Residence in the 2011/12 season. Critics have described his work, written in a contemporary tonal style, as “well crafted”, “engaging,” “immediately appealing,” “melodic and accessible,” “memorable” – and his song cycle, Red Moon and Other Songs of War, as “an unequivocal hit.” His music for orchestra, chamber ensemble, voice and the stage has been broadcast on CBC radio and performed by the Gryphon Trio and other leading Canadian musicians, ensembles and orchestras. His orchestral works include a one-movement Symphony Maligne Range, inspired by a hike through the Rockies, and a children’s work, Maya the Bee, based on the classic tale. Committed to music education and appreciation, he has taught theory and composition to students of all ages, at several universities as well as privately, and has written liner and program DECEMBER 2011

A native of Montréal, Annemarie is a graduate of McGill University where she majored in French Horn Performance. Following several years in Europe, she returned to Canada and stepped into the role of General Manager of Symphony New Brunswick. Work at the National Arts Centre Orchestra was followed by the Winnipeg Symphony Orchestra, where she also oversaw the popular Winnipeg New Music Festival. She joined the Edmonton Symphony Orchestra and Winspear Centre in 2007. Annemarie’s profound love of the arts has been her guide in a career focused on every aspect of the concert experience - from international orchestral tours to concerts in curling rinks in Canada’s North. She is fueled by the belief that participation in live music is essential to our well-being and is driven to make it accessible to everyone. Annemarie is a frequent guest speaker at arts industry conferences and has served on the board of Orchestras Canada. notes for major festivals, presenters and record labels. Dr. Rival holds a doctorate in composition from the University of Toronto. In his spare time you will find him playing shinny hockey at the local rink or out for a run. He lives with his wife Chantal-Andrée Samson, a realist oil painter, and their son Raphaël.

Lucas Waldin, Resident Conductor


2011/2012 SEASON

[ VIOLIN I ] Eric Buchmann, Interim Concertmaster The Concertmaster’s Chair is sponsored by the John & Barbara Poole family Virginie Gagné, Interim Assistant Concertmaster Broderyck Olson Richard Caldwell Joanna Ciapka-Sangster Alissa Cheung Anna Kozak Aiyana Anderson-Howatt Neda Yamach [ VIOLIN II ] Dianne New 1 Susan Flook 2 Heather Bergen Pauline Bronstein Robert Hryciw Zoë Sellers Murray Vaasjo Tatiana Warszynski [ VIOLA ] Stefan Jungkind 1 Charles Pilon 2 Rhonda Henshaw Bonnie Yeager Mikiko Kohjitani Andrew Bacon [ CELLO ] Colin Ryan (1) The Stuart & Winona Davis Principal Cello Chair Sheila Laughton (2) Ronda Metszies Gillian Caldwell Derek Gomez Victor Pipkin

Janice Quinn Rhonda Taft Rob Aldridge

[ HARP ] Nora Bumanis 1

[ FLUTE ] Elizabeth Koch 1 Shelley Younge 2 [ OBOE ] Lidia Khaner 1 Paul Schieman 2 [ CLARINET ] Julianne Scott 1 David Quinn 2 [ BASSOON ] William Harrison 1 Edith Stacey 2 [ HORN ] Allene Hackleman 1 Megan Evans 2 Gerald Onciul 2 Donald Plumb 2 [ TRUMPET ] Robin Doyon 1 William Dimmer 2 [ TROMBONE ] John McPherson 1 Kathryn Macintosh 2 [ BASS TROMBONE ] Christopher Taylor 1


ORCHESTRA PERSONNEL Eric Filpula, Orchestra Personnel Manager Sheila Jones, Librarian The following musicians also appear at performances in this issue: Eddy Bayens Bassoon Elizabeth Faulkner Flute Mary Fearon Horn Matthew Howatt Bassoon Alicia Hui Guest Concertmaster Allyson Lyne Violin Mark Maynor Percussion John McCormick Percussion Brian Sand Trumpet Yukari Sasada Bass Rob Spady Clarinet Jeremy Spurgeon Piano/Celeste/ Organ Elaine Stepa Percussion Dan Sutherland Clarinet Brian Thurgood Percussion Dan Waldron Oboe Russell Whitehead Trumpet

[ TUBA ] Scott Whetham 1 [ TIMPANI ] Barry Nemish 1 [ PERCUSSION ] Brian Jones 1

[ DOUBLE BASS ] Jan Urke 1 John Taylor 2

The ESO works in proud partnership with the AF of M (American Federation of Musicians of the United States and Canada) Local 390.

In addition to our own concerts, the ESO provides orchestral accompaniment for performances by Edmonton Opera and Alberta Ballet.


A monthly feature from Sherbrooke Liquor Store The “Spirit” of Christmas

Our last feature article pertained to bringing appropriate beverages to the various evenings that happen during the festive season. I think it would also be beneficial to pay homage to the other spirits that seem to only be appreciated during December, but could and should be enjoyed any time of the year. During the Victorian era, a little time was carved out every day to enjoy a small glass of any of these spirits, often while discussing the politics or the gossip of the time. Now, while the majority of the customs of that time have become out-dated for many reasons, I feel that it really wasn’t a bad thing that each day slowed down for a minute in order to both connect with those around you … and to enjoy some fine spirits while doing so. Some traditions deserve to be revived! BRANDY One of the more iconic views of a cold winter’s day is the picture of a roaring fire, a large easy chair and a glass of brandy slowly sipped to ward off the night’s chill. Brandy is the generic term for the spirit base that’s distilled from wine. You should recognize the name Cognac, maybe you’ll recognize Armagnac, but it’s also the base for Grappa & Eau de vie. Brandy historically was produced to not waste anything from the production of wine, and these days almost every country will purchase bulk wine/grape juice in order to produce a brandy that can be called their own. Just to mention for any future reference, when an age designation is mentioned with regards to any of these spirits, it means the youngest spirit in the blend is that age. Yes, that means that there can be incredibly aged spirit in the blend. May we suggest the Torres 20-year Classic (from Spain) just $69.99/750ml. Ole!

COGNAC All Cognac is Brandy, but not all Brandy is Cognac. All Cognacs must come from the Cognac region in France, which is further divided into six regional crus (not unlike wine). Cognac is a double-distilled, aged brandy spirit, and can only be distilled through a copper pot still. Cognacs are typically made from the Ugni Blanc (aka Trebbiano) grape, but up to eight others are allowed. Like anything, its age designation depends on how much time it spends in the barrels ageing. What sets Cognac apart from other barrel-aged spirits, is that the maturation process starts in new French oak, but is decanted into older barrels. It also cannot be sold if it’s younger than two years. We have a couple of suggestions, starting with the Drouet et Fils VSOP ($79.99/700ml), and if you really want to make a statement, try the Camus XO Elegance. ($159.99/700ml)

PORT Port is a fortified wine from the Porto region in Portugal. Again, this is one of those items that the natives had decreed that theirs is the best and nothing else should be known by that name forevermore. Rather prudent planning, in my humble opinion. Reason being that as the world seems to be becoming smaller as time goes by, we’re discovering that other countries can, in fact, produce world-class sparkling wine, port, single malt whisky, etc. So why not brand your product from the very beginning? But I digress. Port was created by necessity (are you seeing a trend?) because the British merchants needed a wine that was stable enough to survive the long voyage home. Port is created by halting the fermentation and adding aguadente (grape brandy), resulting in a higher alcohol wine with intense

colour and tannins. Unlike Cognac, port can only be matured in seasoned oak barrels, as new oak is too aggressive for the delicate wine. A popular standard, Graham’s Six Grapes is just $26.99/750ml. Want to see the difference a little age makes? Try the Taylor “Century of Port” gift box. One bottle each (200ml) of the 10, 20, 30 & 40 Year Old. ($259.99) Feel free to stop by Sherbrooke`s website if you want to learn a bit more about the spirits mentioned.

Seasonal Gift Ideas BEER & WINE CLUB The cliché is certainly applicable. This IS the gift that keeps on giving. A subscription based club that you can purchase in three, six or 12 month increments for the person who has everything. Each month, the recipient will receive $50 (retail) worth of either beer or wine that has been thoughtfully chosen and/or sourced specifically for our members. In addition, each month includes carefully researched tasting notes and anything interesting we can discover about the product or the style. Delivery to Edmonton, Sherwood Park and St. Albert is available. Please see our website for rates. GIFT CARDS Sherbrooke offers gift cards that can be purchased in any denomination for that person on your list who is notoriously discerning and difficult to shop for! They won’t be returning this gift on Boxing Day! Perhaps they can use the gift card for Westvleteren, THE best beer in the world! Under normal circumstances, you can only drive to the Monastery in Belgium to pick up a case of this beer. And they make that as difficult as possible – you have to call well in advance, and you have to show up in a car that has the license number you gave them to pick up the one case per month they’ll let you have.

GOOD NEWS. (For you!) Because they only brewed what they needed to survive, they have no cash reserves to deal with a massive renovation that is suddenly required. (After 170 years, who DOESN’T need a little care and attention?). To raise the necessary funds, they have auctioned off one production run of their beer per country. We get ours in June of 2012. I’m not certain how many other countries are involved, but it isn’t a long list. The Gift Pack will contain 6 x 330ml bottles of the Westvleteren 12 and 2 x 150ml glasses (That’s not a typo) and retail for approximately $74.99. Because of the extremely limited nature of this product, we are taking $50.00 non-refundable deposits at the store. So if you want to ensure you get in on this once-in-a-lifetime opportunity, all you have to do is reserve your Gift Pack at the store.

Get the Latest from Sherbrooke Liquor Facebook new product updates

If you are not a friend of Sherbrooke Liquor on Facebook, you may have missed some recent announcements about new products. If you’re interested in the most current information about new products or events at Sherbrooke, join us on Facebook for daily updates.

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Be the first to know about the new beer on our shelves! It’s not just all about new beer though. On Sundays, we often share a link to a creative beer commercial with you. We will also tweet reminders of upcoming events, just in case you forgot!

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MUSICAL TRADITIONS STEPPING BACK IN TIME WITH ESO PATRONS Decades-worth of classical music and memories led two families, both long-standing ESO members, to begin a musical tradition with their children. In the midst of technological advancements and competing entertainment options, Olga Wilson and Ted and Lorraine Caldwell agree that ESO performances are the perfect family affair.

TR ADITIONALLY SPE AKING : Olga Wilson, longstanding ESO patron, now attends performances as a family tradition with her son Mark Wilson


THE FIFTIES were marked by the drawing of entertainment culture into the home. With the popularization of personal TVs, families stayed in to watch hit shows like I Love Lucy and American Bandstand. Whereas families used to have to leave the house to see a performance of any kind, now pop culture was available in the comfort of their living room. Despite the lure of the “box,” live orchestral music proved an attractive entertainment option, and in 1952, the ESO became a registered professional orchestra with the Capitol Theatre as its performance venue and Lee Hepner its first appointed conductor. One of Capitol’s 1,300 seats occasionally welcomed Olga Wilson to its cushion. It was all because of an accidental affiliation with Hepner that came about when she, an English Literature student at the University of Alberta, rarely finished her weekly assigned novel before the next class. Also, since she usually skidded into to the classroom with barely a minute to spare, she had to sit at the front. “There was a man sitting there by himself and I rushed up, sat beside him and asked if he could tell me what happened at the end of the novel,” Wilson says. Weeks went by and a pattern was set. Every week, the man filled Wilson in on what she didn’t have time to find out for herself. At the end of the course, the helpful man invited Wilson to join him and a friend, Dr. Roland, a U of A biology professor, for coffee. “Dr. Roland said to me, ‘Do you know who this is?’ of the man who told me all the literature answers. I said, ‘No.’ He asked, ‘Do you ever go to the symphony?’ And I said, ‘No.’ He said, ‘Well, this is the conductor of the symphony, Lee Hepner.’ ” Wilson was intrigued. “I thought, ‘My goodness, the Lee Hepner was the first appointed symphony must be something professional conductor of the interesting if it’s conducted by ESO in 1952.

2011/2012 SEASON MUSICAL TRADITIONS When I listen to music played by the symphony, I assimilate what is being played, but because it relaxes me so beautifully, I can resolve some problems that I may not have been able to before.” – Olga Wilson, longstanding ESO patron to try. They were quite intrigued.” This early immersion for these two young boys would grow into a lifelong enjoyment of live orchestral music. British rockers, Procol Harum teamed up with the ESO in the ’70s such a wonderful and thoughtful man who was willing to share his knowledge with me for so many weeks.” She attended a few shows and was hooked. Olga Wilson’s chance connection with the ESO’s conductor led to a passion for orchestral music that has endured through six decades. THE SIXTIES became a decade of social, technological and political transformation. Increasingly widespread use of TV galvanized society, as the Vietnam War filled headlines while the Civil Rights Movement and women’s movement began to realign longstanding social inequalities. At the same time, mass popular culture exploded – who can forget the thousands of screaming fans at the Beatles concert in Toronto’s Maple Leaf Gardens in 1964? During this decade, Wilson still enjoyed attending the symphony due to another musical connection: Dr. Anne Burrows, a music teacher, philanthropist and music critic. “She was blind from age six, so I picked her up in my car and we’d go to all sorts of events, including the symphony,” Wilson says. “We would listen to music, go out to eat, then I’d drive her home and she would write up her review, call a taxi and send it to the Journal.” Wilson says these various adventures and Burrows’ knowledge increased her own understanding and therefore, appreciation of music immensely. THE SEVENTIES were marked by a sound change. Heavy metal bands like

AC/DC and psychedelic rock – Led Zeppelin and Pink Floyd – replaced lighter rock and pop after the break up of The Beatles. The ESO broadened its musical reach, teaming up with British rockers Procol Harum in a legendary performance: a collaboration which led to the world’s first-ever Gold record (selling 50,000 units) featuring an orchestra. Now with two elementary-aged sons, Kevin and Mark, Olga Wilson wanted to instil in them the love she had for orchestral music. “Finally when I was able to afford it, I bought tickets to the symphony. Sometimes I brought (my sons) with me,” she says. “They didn’t immediately love it, but were willing DECEMBER 2011

THE EIGHTIES were an era of excess. MTV and pop culture magazines created a culture of musical celebrity and style, and teenagers coveted Michael Jackson’s red leather jacket. It was also a time when tragic events such as Ethiopia’s crippling famine broadened people’s understanding of the global community and infused the music of times, inspiring musical benefits such as Live Aid – celebrated as “The Day the Music Changed the World.” Ted and Lorraine Caldwell started attending ESO performances in the early ’80s. In a demanding and hectic world, the ESO provided a refuge. “It was one of those evenings where you could just kind of settle down and nobody expected anything from you. You could just sit and enjoy the music,” Ted says. “Both of us were in jobs that demanded a lot during the day. It was really nice to be able to go somewhere where you didn’t have to be front and centre and responsible for anything. You could just listen.” In 1984, they got seasons tickets and 27 years later, the Caldwells continue to renew their subscription to the ESO. THE NINETIES witnessed the first Gulf War, two NHL lockouts and Johnny

Carson’s last joke on air. The advent of the Internet sent the information age into overdrive and mobile phones that weighed as much as a brick were the latest must-have. It was a time for experimentation. The first ESO Composer in Residence, John Estacio, wrote a concerto with a violin, cello and piano (believed to be the first since Beethoven’s). The ESO went on tour to bring live orchestral music to Canada’s North. In 1997, the ESO moved into its newly-built home, the Francis Winspear Centre for Music, that quickly became known as one of the world’s most acoustically superb concert halls. The Caldwells made it a priority to attend the symphony with their children, Richard and Patrick. The symphony was, in fact, an attractive family event. “It was special. It was musical. It was something that we didn’t get every day. We could go to a movie anytime.” Lorraine says. “We’d get our tickets and it was fun to look them over and speculate what the next one was like.” As their sons grew up and found girlfriends, the boys took turns going to the orchestra so each one could bring a girlfriend with the unused ticket. SIGNATURE 11


FEATURE 2000 TO TODAY – It’s a virtual world. The Y2K scare passed by and social media exploded. With the use of personal hand-held devices and instantaneous Internet connections, entertainment choices have multiplied. At the same time, individuals can tailor their exposure to musical entertainment in an unprecedented fashion. Despite these changes, the ESO continues to capture the hearts and imaginations of a significant audience – approximately 8,000 season ticket holders for its 60th anniversary season. For Olga Wilson and the Caldwells, the appointment of American conductor and pianist William Eddins as Music Director in 2005 has been an important component Caldwell, 27-year in the ESO’s continued popularity. “The present conductor is absolutely fabulous,” Wilson says. “He makes the orchestra play beautifully.” Ted Caldwell agrees. “The symphony seems to be at a high point at the moment. Bill Eddins has done a lot.” The ESO continues to evolve with the times and its audience. It is weaving new technologies into musical programs, connecting with patrons

MUSICAL TRADITIONS through Facebook and Twitter and also in person, bringing music to the great outdoors at the annual Symphony Under the Sky Festival, and attracting new generations with innovative series like Late Night with Bill Eddins and Symphony for Kids. Yet, what it has offered families and the community over the decades remains consistent: the chance to share with loved ones, one of life’s greatest pleasures – live music. In an increasingly complex world, the ESO remains a bright spot in the lives of these two subscriber families, enriching their shared experiences and cementing family bonds. Wilson renews her Landmark Classic – Lorraine Masters series tickets each season without ESO Pops patron hesitation. “I go with my youngest son Mark and we follow a tradition each time,” Wilson says. “After the symphony, we go to Bistro Praha and talk about what we heard and whatever else happens.” The Caldwells go as a group of six now, including their sons’ wives, Jackie and Star, to the ESO Pops performances. “I’m looking forward to the day when some of the grandkids come, too.” says Lorraine.

One daughter-in-law Star said, ‘Right from the moment I met [Patrick] and he said he couldn’t meet me that night because he was taking his mother out to the symphony, that’s when I decided … I was marrying him.’ ”

SIX AND COUNTING : The Caldwell family, (from L) Star, Patrick, Lorraine, Ted, Jackie and Richard, continue to renew season’s tickets to the ESO’s Pops performances.


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Oh, Canada! During the 2012 Education Concert Series, the Edmonton Symphony Orchestra and ATCO Gas are taking K-3 students on a Canadian Road Trip. And playing on the stereo are the sounds and songs of our home and native land. Students will explore Canada’s rich musical history—from the drums of the west to the fiddles of the east.

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Heart disease affects the lives of more men and women than all cancers combined. The CK Hui Heart Centre, officially opened in May 2011 in the Robbins Pavilion at the Royal Alexandra Hospital, will continue the legacy of innovative care that has made the Royal Alex a leader in the treatment of heart disease and a teacher to heart specialists from around the world. Please consider making a charitable bequest to the Royal Alexandra Hospital Foundation in support of the CK Hui Heart Centre. It’s a gift with heart. For more information, please contact Stephen Boyd, LL.B, at 780-735-5061. 000Sig1_RoyalAlex_1-2H.indd 1

780-735-4723 8/18/11 4:21:54 PM


2011/2012 SEASON

A Merry Pops Christmas

Friday & Saturday, December 2 & 3 | 8 PM

Robert Bernhardt, conductor Mireille Lebel, mezzo-soprano Cantilon Chamber Choir (Heather Johnson, Music Director) Greenwood Singers (Robert de Frece, Music Director) University of Alberta Faculty of Education Handbell Ringers

(Robert de Frece, Music Director) Tap Dancers from the Victoria School of the Performing and Visual Arts (Maureen Tigner-Morison, choreographer)


“SLEIGH RIDE” Anderson

“NUTTIN’ FOR CHRISTMAS” Bennett/Tepper (arr. Fry)

“THE CHRISTMAS SONG” Tormé/Wells (arr. Lapalme)

various (arr. Bass)




Silvestri (arr. Pope)


Silver (arr. Wayland) various (arr. Bass)

Program subject to change

Marks (arr. Stephenson)




Tchaikovsky/Pierpoint (arr. Bridwell)



“WHAT CHILD IS THIS?” trad./Dix (arr. Lapalme)


Adam/Cappeau/Dwight (arr. Dragon)


“Somewhere in My Memory” / “Star of Bethlehem” / “Merry Christmas” Williams/Bricusse

INTERMISSION (20 minutes)



“GO TELL IT ON THE MOUNTAIN” / TROIKA trad./Prokofiev (arr. McKechnie)

OBERT BERNHARDT served as Music Director and Conductor of the Chattanooga Symphony and Opera for 19 seasons. He was the second Music Director in the combined companies’ history, and is now the first with the title Emeritus. A lover of all genres of music, he is equally at home in symphonic, operatic, pops and educational performances. He also nears another milestone in his career with the Louisville Orchestra, with this year representing his 30th consecutive season with the LO, and his 15th as Principal Pops Conductor. 20102011 saw Mr. Bernhardt make his conducting debuts with the Houston Symphony and Cincinnati Pops, and returning twice to the Boston Pops. His vast symphonic repertoire covers most of the standard canon and his commitment to the music of our time is significant. He has been a frequent guest conductor with the Pittsburgh Symphony, the Detroit Symphony, the St. Louis Symphony and the Boston Pops. He has also been a guest with the Seattle Symphony, the Phoenix Symphony, the Nashville Symphony, the Colorado Symphony, the Iceland Symphony, the Pacific Symphony, and others. He has recorded for Vanguard, First Edition, Carlton Classics and RPO record labels. He has also conducted the Louisville Ballet, the North Carolina Ballet, the Jacksonville Ballet, and the Lonestar Ballet.

Born in Rochester, N.Y., Robert Bernhardt holds a Master’s Degree with Honours from the University of Southern California School of Music where he studied with Daniel Lewis. He was a Phi Beta Kappa, Artist bios continue on page 16-17.

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Bill & Mary Jo Robbins DECEMBER 2011



2011/2012 SEASON ROBBINS POPS A Merry Pops Christmas

Labadie, and Handel’s Messiah with Jean-Marie Zeitouni. She can be heard on disc with the Boston Early Music Festival in Lully’s operas Thésée and Psyché, both nominated for Grammy Awards. This year, she adds Blow’s Venus and Adonis and Charpentier’s Actéon to her discography, again with the Boston Early Music Festival. A recipient of a Canada Council emerging artist grant, Lebel received a Bachelor of Music from the University of Toronto, and a Masters of Music from the University of Montréal. This season, Mireille Lebel will sing the title role in L’Enfant et les sortilèges, Orlovsky in Die Fledermaus and Idamante in Idomeneo with Theater Erfurt, Mahler’s Symphony No. 3 with the New Jersey Symphony Orchestra, and L’Orchestre symphonique de Trois Rivières, and Annio in La clemenza di Tito with Toronto’s Opera Atelier. She made her debut with Edmonton Opera in the role of Mercédès in Carmen in December 2007. Ms. Lebel last appeared with the ESO in November 2011.

summa cum laude graduate of Union (N.Y.) College, where he was an academic All-American baseball player. His son, Alex, lives and works in Seattle with his wife and new daughter, and his daughter, Charlotte, is a resident of New York City. He and his wife, Nora, live on Signal Mountain. Robert Bernhardt holds a special place in the hearts of Edmonton Symphony Orchestra musicians and audiences. This year’s Symphony Under the Sky marked his sixth consecutive as the festival’s conductor, and he frequently leads the ESO in subscription series performances at the Winspear Centre. He last conducted the ESO in our Robbins Lighter Classics series in September 2011.


he CANTILON CHAMBER CHOIR is widely recognized as one of Canada’s leading children’s choral ensembles. Since its inception, the Cantilon Chamber Choir has been honoured with many awards in national and international competitions. In July 2011, the choir participated in the 65th International Eisteddfod in Llangollen, Wales. They received First Place in the Youth Choir and Folk Song Choir classes and Second Place for Female Choirs. Other tour highlights included a performance at St. George’s Chapel in Windsor Castle and watching the premiere of Harry Potter and the Deathly Hallows in Leicester Square, London.


IREILLE LEBEL has been hailed as “a most promising talent” (Le Devoir) and this mezzo-soprano is fast becoming one of Canada’s most sought after young performers. She recently performed with the Houston, San Antonio, and Trois-Rivières Symphony Orchestras, Les Violons du Roy, Edmonton Opera, and Pacific Opera Victoria, and has received acclaim for opera roles including Dorabella in Così fan tutte, Concepcion in L’Heure espagnole, Cherubino in Le nozze di Figaro, Ottone in Agrippina, and the title role in L’Enfant et les sortilèges. She also added the title role in Carmen which she performed in her début with the Malaysian Philharmonic Orchestra. Her orchestral repertoire ranges from Mahler’s Symphony No. 2 with Jacques Lacombe, Haydn’s Stabat mater with Bernard


In the fall of 2007, the choir represented Canada in the European Broadcasting Union’s Let The Peoples Sing competition, receiving Second prize, followed a few months later by a trip to the prestigious Tolosa International Choral Competition (Spain) where they placed third in the Children’s Choir category. The choir has travelled extensively, also competing successfully in the Béla Bartók International Choral Competition in Debrecen, Hungary in July 2006 (First Place in Children’s Choirs; First Place in Youth Choirs; Best Performance of a Hungarian Work; Purest Intonation and Interpretation) and the 57th International Eisteddfod in Llangollen, Wales in 2003 (Second Place in Senior Children; Third Place in Chamber Choirs and Folk Song Choirs). In addition to its regular concert series, the Cantilon Chamber Choir regularly performs with the Edmonton Symphony Orchestra, Pro Coro Canada, the Edmonton Opera Company and the Richard Eaton Singers. The Cantilon Chamber Choir has released three

CDs: That Yongë Child, a collection of Christmas music, Blessed Is the World That Sings, a new release featuring sacred and folk music recorded during the choir’s trip to England and Wales, and most recently Bonny Wood Green. The newest CD includes music by prominent Canadian composers as well as Poulenc’s Petites Voix and Rautavarra’s “Suite” de Lorca. The choir last appeared with the ESO in December 2010.


ounded in 1988 by Robert de Frece, the UNIVERSITY OF ALBERTA FACULTY OF EDUCATION HANDBELL RINGERS play a set of 75

finely tuned English handbells manufactured by Schulmerich Carillons of Sellersville, Pennsylvania, “Bell Capital of the World,” and a set of 37 Suzuki hand chimes. The ringers collaborate every December with Greenwood Singers and perform and tour annually with the University of Alberta Mixed Chorus. They have frequently appeared with the Edmonton Symphony Orchestra and are featured on the Greenwood Singers CDs, WinterGreen: Songs of Christmas and Joy to the World: Music for Advent & Christmas. The group last appeared with the ESO in December 2008.


ounded in 1980 by Robert de Frece, GREENWOOD SINGERS is dedicated to the performance of all types of choral music from Renaissance to Broadway. The choir’s eclectic programming has made its concerts popular with Edmonton audiences since its debut in 1981. In the beginning, Greenwood Singers specialized in the performance of a cappella music from different stylistic periods. Its programming has now expanded to include works with soloists, instrumental ensembles and chamber orchestra. A versatile ensemble, the choir has performed frequently with the Edmonton Symphony Orchestra in a wide variety of programs which have included Mahler’s Symphony No. 8, Holst’s The Planets, family Christmas concerts, the concert version of Jerome Kern’s Show Boat, Orff ’s Carmina Burana (with the Alberta Ballet) and the ESO’s 1992 reunion with the British rock group, Procol Harum. Greenwood Singers has also performed with the Alberta Baroque Ensemble and has been heard on regional and national broadcasts on CBC RadioCanada. In the summer of 2000, Greenwood Singers performed at the 24th Biennial World Conference of the International Society for Music Education and in the summer of 2001, sang for the opening ceremonies of the 8th IAAF World Championships in Athletics. The choir has released four CDs, produced by Arktos Recordings: WinterGreen: Songs of Christmas (1996), Home for the Holidays (1999), Randall Thompson: Ode to the Virginian Voyage / Frostiana (2002) and Joy to the World: Music for Advent & Christmas (2009). For more information, The choir last appeared with the ESO in December 2009. DECEMBER 2011


he Dance program at VICTORIA SCHOOL OF THE ARTS is unique in Alberta. From Kindergarten to grade 12, students study a variety of dance forms that foster technical proficiency, creativity, historical appreciation and positive self-concept. The dance students are also given the opportunity to explore composition and participate in integrated arts projects with academics and other arts disciplines. The grade 7 to 12 students performing tonight are from Dance Xtreme, one of the many auditioned performance groups. Victoria School of the Arts is an International Baccalaureate and Arts focused school. While singers from Victoria School have performed with the ESO in the past, this concert is the debut for performers from the Dance program. SIGNATURE 17

We’re pleased to sponsor a Michael W. Smith Christmas with the ESO Concert and the magic of the season. Proud developers of exceptional communities. Proud sponsors of exceptional community events.

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10/27/11 2:08:15 PM



2011/2012 SEASON

A Michael W. Smith Christmas

Tuesday & Wednesday, December 6 & 7 | 7:30 PM Michael W. Smith, special guest David Hamilton, conductor L’Angelus, special guests

Tonight’s program will be announced from the stage. There will be one 20-minute intermission.




ith 44 GMA Dove Awards, three Grammys and more than 15 million in sales to his credit, MICHAEL W. SMITH has created an unparalleled musical legacy. Some would say he pioneered the Christian music genre itself, having become the most recognized and respected ambassador for faith-infused music worldwide. With the latest of his 22 career albums called Wonder, Mr. Smith takes his signature creative genius and faith-inspired insights to yet another level. The acclaimed singer, songwriter, composer and worship leader is as passionate and poignant as ever in this powerful album.

Wonder is one of the most impactful albums of his career: anthemic, deep, sweeping and cinematic. This project manages to carry an air of possibility while acknowledging the pitfalls of this-world existence, effortlessly juxtaposing sometimes dark lyrics with catchy hooks and uplifting melodies. It’s easily apparent that even after 21 albums in the past 27 years, “Smitty” has yet to lose his interest in music or the message he wants to share. In fact, his creativity, energy and innovative approach appear to be expanding with each new effort. “The journey’s not finished,” he has said. “We’ve all got our gifts and we all get to contribute, and this is what I’m supposed to do. For some reason, I still love music. For some reason, I still love performing live. And for some reason, I still feel a bit of a surge when I step into a recording studio. It makes me think of Chariots of Fire. I’ll never forget, it just took my breath away when Eric Liddle said, ‘When I run, I feel His pleasure.’ I feel that way. Making music, singing these songs, that’s what I’m made to do.” Mr. Smith last appeared with the ESO in December 2007.

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AVID HAMILTON is a versatile and passionate musician. He is a respected producer, arranger, conductor, pianist and songwriter with a broad stylistic range. His music can be heard on recordings by a diverse group of artists spanning pop, country, contemporary Christian, gospel and classical genres. His music flows out of the deep influence of faith and his writing and playing have made a strong impact on the music of the contemporary church. Mr. Hamilton is also a gifted conductor. As Musical Director for holiday and pops concerts touring with Michael W. Smith, Amy Grant, and Vince Gill, he has conducted numerous orchestras including the National Philharmonic, and the Dallas, St. Louis, Indianapolis, Atlanta, Virginia and Kansas City symphonies. He recently made his debut appearance at Carnegie Hall.

David Hamilton has recorded with orchestras in Nashville, Los Angeles, New York, Dublin, Prague and London. He has helped Michael W. Smith bring many of his musical ideas to life such as It’s a Wonderful Christmas and most recently Michael’s new instrumental project, Glory. He has produced recordings and written music for numerous other artists including Sandi Patty, Shania Twain, Renée Fleming, Steve Green, Ricky Skaggs, and Michael McDonald. David received his undergraduate degree in Piano Performance from the Wheaton College Conservatory of Music and his Masters degree from the University of Miami School of Music. He has been part of the vibrant creative community in Nashville for over 20 years. He also serves as a lay leader in the music and worship ministry at Brentwood Baptist Church and is a recent alumnus of Nashville’s esteemed Leadership Music program. He lives in Brentwood with his wife, Sandy and their two children. Mr. Hamilton last appeared with the ESO in December 2007.

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Artist’s bios continue next page.


2011/2012 SEASON CHRISTMAS SPECIAL A Michael W. Smith Christmas


xpert musicians, incredible singers and top-notch live entertainers, L’ANGELUS combines the best of Louisiana’s musical traditions. The result is a live show that rolls along with what Michael Doucet of Beausoleil calls “the instrumental energy of a freight train that knows no boundaries.” And the band is all from one Louisiana family. Linda Rees got the group going in the mid-’90s with her four oldest children. Katie picked up the guitar, Paige the bass, Johnny the drums and Steve the fiddle, saxophone and harmonica. By 2002, playing as Linda Lou & the Lucky 4, the group performed at hundreds of county fairs, rodeos, demolition derbys and coffeehouses throughout the midwest and eastern United States. L’Angelus now performs as a dynamic, high-energy fourpiece band. They describe their sound as Louisiana roots, but still love to play the popular old rock and country and Motown tunes. L’Angelus was selected in 2006 by Billboard magazine from over 1,400 artists as one of six finalists in the Independent Music World Series and has been steadily gaining international attention. May 2009 marked their first internationally televised concert with an hour-long interview and performance on EWTN’s Life on the Rock, where the group explored the influence that the Catholic culture of community celebrations has had on the development of Cajun and Irish music. Their most recent release, Sacred Hymns Collection, was picked up for international distribution by Ignatius Press, the world’s largest Catholic publishing company, and quickly became one of the most popular items in their music catalogue. This is L’Angelus’ debut with the ESO.

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2011/2012 SEASON

Handel’s Messiah

Friday & Saturday, December 16 & 17 | 7:30 PM William Eddins, conductor Linda Perillo, soprano Frances Jellard, mezzo-soprano John Tessier, tenor Nathan Berg, bass-baritone Òran Chamber Choir

(Scott Leithead & Kathleen Skinner, Music Directors)

University of Alberta Madrigal Singers (Leonard Ratzlaff, Music Director)

i Coristi Chamber Choir

(Debra Cairns, Music Director)


Messiah, HWV 56


FIRST PART 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14a. 14b. 15. 16. 17. 18. 19. 20. 21.

Overture Recitative: Comfort ye, my people Air: Ev’ry valley shall be exalted Chorus: And the glory of the Lord shall be revealed Recitative: Thus saith the Lord of hosts Air: But who may abide the day of His coming? Chorus: And He shall purify Recitative: Behold, a virgin shall conceive Air: O thou that tellest good tidings to Zion Recitative: For behold, darkness shall cover the earth Air: The people that walked in darkness Chorus: For unto us a Child is born Pifa: Pastoral Symphony Recitative: There were shepherds abiding in the field Recitative: And lo, the angel of the Lord came upon them Recitative: And the angel said unto them, Fear not Recitative: And suddenly there was with the angel Chorus: Glory to God in the highest Air: Rejoice greatly, O daughter of Zion Recitative: Then shall the eyes of the blind be opened Air: He shall feed His flock like a shepherd Chorus: His yoke is easy, His burthen is light

INTERMISSION (20 minutes)


22. 23. 24. 25. 26.

Chorus: Behold the Lamb of God Air: He was despised and rejected of men Chorus: Surely He hath borne our griefs Chorus: And with His stripes we are healed Chorus: All we like sheep have gone astray

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27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44.

Recitative: All they that see Him laugh him to scorn Chorus: He trusted in God that He would deliver Him Recitative: Thy rebuke hath broken His heart Air: Behold, and see if there be any sorrow Recitative: He was cut off out of the land of the living Air: But Thou didst not leave His soul in hell Chorus: Lift up your heads, O ye gates Recitative: Unto which of the angels said He at any time Chorus: Let all the angels of God worship Him Aria: Thou art gone up on high Chorus: The Lord gave the word Aria: How beautiful are the feet of them Chorus: Their sound is gone out into all lands Air: Why do the nations so furiously rage together? Chorus: Let us break their bonds asunder Recitative: He that dwelleth in heaven Air: Thou shalt break them with a rod of iron Chorus: Hallelujah


45. 46. 47. 48. 49. 50. 51. 52. 53. 54.

Air: I know that my Redeemer liveth Chorus: Since by man came death Recitative: Behold, I tell you a mystery Air: The trumpet shall sound Recitative: Then shall be brought to pass Duet: O Death, where is thy sting? Chorus: But thanks be to God Aria: If God be for us Chorus: Worthy is the Lamb that was slain Chorus: Amen

Program subject to change *indicates approximate performance duration

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Mr. Eddins’ bio can be found on page 6. Nathan Berg’s bio can be found on page 29. Other bios and program notes can be found on pages 22-25. SIGNATURE 21





anadian soprano LINDA PERILLO has been acclaimed in North America, Europe and elsewhere as one of the finest Baroque sopranos of her generation. She performed as a soloist throughout North America with period instrument groups such as Tafelmusik in Toronto and the San Francisco Philharmonia Baroque Orchestra. Also, she sang with numerous symphony orchestras, including the Montréal Symphony, National Arts Centre Orchestra, San Francisco Symphony, Winnipeg Symphony and with the CBC Vancouver Orchestra. Her career in Europe has included performances and recordings with the English Concert, Gabrieli Consort, La Grande Ecurie, La Chapelle Royale, Amsterdam

Baroque Orchestra and The Sixteen. Her solo recordings include music by Mondonville, which was awarded the coveted “Choc” label by the French magazine Diapason, and Un alma innamorata – cantatas for soprano with violin obligato.



RANCES JELLARD was born in Plymouth, England and educated

in Edmonton. While studying for her degrees in Music and Drama at the University of Alberta, she sang with ConSept and Pro Coro Canada for Canadian and European tours. She entered the Royal College of Music on the postgraduate course and later joined the RCM Opera School. As a student, she won several prizes including the Contralto Repertoire Award in Ballymena, Northern Ireland. A member of many vocal ensembles, including the Wren Baroque Soloists and the Scholars Baroque Ensemble, Ms. Jellard has toured the world and recorded extensively. Ms. Jellard enjoys a wide variety of performing styles. She made her theatrical debut in the Old Vic production of Isaac Babel’s Marya, and continues to do regular stage and opera work. She performs recitals of cabaret, music hall and contemporary songs while she has also recorded several soundtracks for film and television. In 1997, she made her debut in the BBC Promenade concerts as Camilla in Schubert’s Die Verschworenen. Solo concerts include Haydn’s Nelson Mass for Sir John Eliot Gardiner, Messiah for Nicholas McGegan, Bach’s St. Matthew Passion in Holland and Walton’s Façade in St John’s Smith Square. Recent engagements include Marcellina in Mozart’s The Marriage of Figaro for Opera à la Carte, Elgar’s Dream of Gerontius, Tippett’s A Child of Our Time and Monteverdi’s Vespers in Spain. Ms. Jellard teaches singing at the Royal Academy of Dramatic Art, St Paul’s Boys’ School and Latymer. She enjoys teaching and is a mentor in the Monteverdi Choir Apprenticeship Scheme. Frances is delighted to be returning home to Edmonton and to be singing again with the Edmonton Symphony Orchestra; it is always such a pleasure, she says, to make music with old friends. Ms. Jellard last appeared with the ESO in December 2002.


A former Edmontonian, Linda Perillo is an active and inspirational teacher, working mostly in London (U.K.) and Spain. In 2008, she founded “The Joy of Singing,” attracting a huge number of people from all walks of life to the spiritual and physical benefits of singing. The vocal ensembles she has formed perform all kinds of music, from Hildegard von Bingen to the Beatles, which Ms. Perillo accompanies with on the piano and the harp. For this work, she has been nominated for a Civic Award in London. Ms. Perillo last appeared with the ESO in December 2005.

he Juno Award-winning JOHN TESSIER has garnered international attention and praise for the beauty and honesty of his voice. He is also known for having a refined style, artistic versatility and for his handsome, youthful presence in the lyric tenor repertoire. He has worked with many of the most notable musicians of our day including Plácido Domingo, Lorin Maazel, Charles Dutoit, Leonard Slatkin, Bryn Terfel, Sir Thomas Allen, Thomas Hampson, Pinchas Zukerman, Itzhak Perlman, Bobby McFerrin, John Nelson, Franz Welser-Möst, Donald Runnicles, Robert Spano, Samuel Ramey, Emmanuel Haim, Valery Gergiev, Deborah Voigt, Dame Gwyneth Jones and Bernard Labadie. Mr. Tessier’s appearances of the recent past and near future include performances at the Royal Opera House Covent Garden, Wiener Staatsoper, Teatro Colón, Carnegie Hall, Oper Frankfurt, Grand Théâtre de Genève, English National Opera, Washington National Opera, the New York Philharmonic, National Symphony Orchestra, San Francisco Symphony, Philadelphia Orchestra, Cleveland Orchestra, Royal Liverpool Philharmonic, Ensemble Orchestral de Paris and the Toronto Symphony Orchestra. Equally comfortable in the genres of opera, oratorio and recital, Mr. Tessier is also in high demand for coaching, master classes and private consultations. His discography includes recordings on the Naxos, Telarc, BIS and Dorian labels. Mr. Tessier last appeared with the ESO in December 2007.


ounded in 2002, ÒRAN began as an alumni off shoot of Edmonton’s Kokopelli Youth Choir, but it has since developed into a group made up of young adults from all over Edmonton. Each brings a different viewpoint to the group, but all are united in their passion for singing. The choir stresses the same philosophical goals as its younger counterpart: striving to achieve musical excellence and artistic integrity, as well as combining new interpretive techniques with more traditional choral expertise. Above all, Òran is dedicated to sharing joy in song with each other, with other choirs and with audiences around Edmonton and across Canada. Òran was featured at the 2005 Festival 500 in St. John’s, Nfld. and more recently, participated in the Laval International Choral Festival in Québec in July 2009, as well as a cultural tour to Cuba in May 2011. The choir is celebrating its 10th year this season and is conducted by Kathleen Skinner, alongside Associate Conductor and Kokopelli’s Artistic Director Scott Leithead. The choir last appeared with the ESO in September 2010.



since 1982 by Leonard Ratzlaff, is regarded as one of Canada’s fi nest university choirs with successes both in the CBC National Competition for Amateur Choirs and in several international competitions in Germany and Ireland. The Madrigal Singers have performed on invitation at the American Choral Directors National Convention in Los Angeles in 2005 and at Podium 2010 – the biennial conference of the Association of Canadian Choral Communities in Saskatoon. They have also participated in three University Voices projects, sponsored by Soundstreams Canada in Toronto and featuring Canada’s fi nest university chamber choirs. “The Mads,” as they are called, have recorded five CDs, two of which (Balulalow, and The Passing of the Year) received the Association of Canadian Choral Conductors national choral award for best recording of the year. Comprised of students from the Department of Music as well as the broader student body, the Madrigal Singers have been regular guests of the Edmonton Symphony as well as the Alberta Baroque Ensemble. The CBC has also recorded them frequently for national and regional broadcasts. Artist’s bios and program notes continue on page 24.



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February 10 Craig Humber 7:00 pm (Friday)

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2011/2012 SEA CHRISTMAS CONCERT Handel’s Messiah

Madrigal Singers bio continued from page 23.

Later this season, the Madrigal Singers will perform as guests of Pro Coro Canada in their annual Good Friday concert. Conductor Leonard Ratzlaff, a professor of choral music at University of Alberta, co-supervises the largest graduate program in choral conducting in the country. He holds several honours, including the Order of Canada, the Alberta Order of Excellence and Fellow of the Royal Society of Canada. The choir last appeared with the ESO in December 2009.


ow celebrating its 18th season, i CORISTI CHAMBER CHOIR is an ensemble of 22 singers. Membership is by audition and encompasses a broad cross section of the population: accountants, teachers, computer programmers, nanotechnologists, designers, theologians, administrators, office personnel – singers for whom music is their vocation and singers for whom music is their avocation! The name “i Coristi” is Italian, meaning “The Choral Singers.” Noted for its unique, eclectic programming, the choir focuses on a cappella masterpieces from the Renaissance to the 21st century, presented in three main concerts each season. Twice second-prize winners (2006 and 2008) in the Chamber Choir category of the national CBC Radio Amateur Choir Competition, i Coristi has been heard on national and regional broadcasts of CBC Radio, performed with the Edmonton Symphony, toured Ontario and Manitoba and been invited to perform in Toronto and Winnipeg at the national biennial conferences – Podium – of the Association of Canadian Choral Communities (ACCC). During the summer of 2009, i Coristi completed a highly successful tour to England and Wales, which included a performance at the prestigious International Eisteddfod Festival in Llangollen, Wales. Th is past summer, i Coristi was accepted to perform at Festival 500 in St. John’s, Nfld. The choir has issued three CDs, the most recent of which, Songs of the Soul, was released in the fall of 2008 in celebration of the choir’s 15th season. The founder and conductor of the choir is Dr. Debra Cairns. For further information about the choir, visit

i Coristi last performed with the ESO in December 2009. They will appear again with the ESO February 24 & 25, 2012.




(b. Halle, 1685 / d. London, 1759)

First performed: December 16, 1894 in Prague LAST ESO PERFORMANCE: DECEMBER 2010


EORGE FRIDERIC HANDEL fi rst came to England in 1712, just

for a visit. Even then, before Handel had settled permanently some years later in England as the favourite court composer, those already established in British musical circles derided the large German man’s manners and thick accent. But it was a rejection born largely of jealousy. As a musician, Handel was head and shoulders above the best the English had to off er their own citizens, especially since the 1695 death of Henry Purcell. Seven years before Handel came to London, composer Thomas Clayton had attempted to found an Italian operatic tradition in England with a work called Arsinoe. It enjoyed some success, but once Handel eclipsed all others as the master of Italian opera in London, Clayton became an outspoken critic of the whole notion of foreign-language operas for English audiences. Th is did not stop Handel and many successes came his way, as did acclaim from both the general public and the royal court. But Baroque opera, as a form, began sinking under the weight of its own excesses by the 1730s, and Handel’s fortunes waned as a result. As shrewd a businessman as he was a supreme musician, Handel correctly foresaw oratorio as the next popular concert form. Like opera, oratorio involves soloists, chorus and orchestra. There is often a story related in the text of oratorio. But while operas of the day leaned more towards classical themes and stories, more uplifting, religious, biblical stories were thought more appropriate to oratorio. Another key diff erence between the two forms was language: oratorios were usually sung in the native tongue, and thus were, perhaps, more accessible to a wider, more middle class audience than Italian opera. In short order, Handel showed a deft hand at English oratorio, with Deborah (1733), Saul (1738) and Israel in Egypt (1739). By 1741, he had once again secured his place at the vanguard of British musical life. It was librettist Charles Jennens who presented Handel with a collection of texts from the Bible, and Messiah was composed in a blinding fl ash of creativity in only 25 days. Newman Flower wrote at the time that, “Handel was unconscious of the world” while the German-born master was writing what would prove to be the greatest oratorio ever written. Jennens, however, seemed unimpressed. “His Messiah had disappointed me, being set in great haste, tho’ he said he would be a year about it, and make it the best of all his Compositions,” wrote Jennens. “I shall put no more sacred works into his hands, thus to be abus’d.” One wonders, parenthetically, how many other librettists would give their eye teeth to have their words “abus’d” in such a manner! It is also worth noting that Jennens’ comments were made before he had heard the work and his words softened quite a bit after. He and Handel collaborated on other oratorios (Saul, L’Allegro and Belshazzar) and they re-established good terms with each other. Handel must have sensed the potential hit he had on his hands, and the canny marketer that was part of his makeup helped rally publicity before Messiah’s official debut. Handel staged a public dress rehearsal


of the new work – a move that generated such tremendous anticipation and publicity that hundreds were turned away from the official debut performance on April 13, 1742. Of those that were able to attend, the ladies were asked to remove the hoops from their gowns and gentlemen were asked not to wear their swords, to accommodate the crush of people. It was in Dublin that Messiah was fi rst staged. Handel had been invited there by the Lord Lieutenant of Ireland, the Duke of Devonshire, along with the governors of three Irish charitable societies. And while that fi rst performance was a well-attended aff air, Messiah was not a hit from the outset. It would, in fact, take a decade or so of London-based performances for the work to acquire the popularity it has subsequently never relinquished. As an example of the oratorio form, Messiah stands a bit apart from many of its fellows. There are no “character” parts sung by the soloists, and in fact there is, beyond some description of the birth of Christ in Part I, and His Passion in Part II, no story told in the music – there is no narrative line, as such. Perhaps part of the reason for this was the controversy that might have been stirred up if no less than the Lord was made a “character” part. Indeed, enough grumblings were made about the fact that so sacred a subject was performed in a theatre, as opposed to a church. Those complaints died down in a few years, as the work won greater acceptance. By 1750, Messiah was an unqualified success. Handel himself oversaw no less than 36 performances of it before his death in 1759. Th is fact has led to some difficulties in pinning down an absolutely authentic version of the work – an impossible task actually, since Handel had no difficulty adapting the work for the needs of particular singers, available instrumentation and even just to make improvements as he saw fit. Part I of Messiah deals with the prophecies of the coming of both Christ and John the Baptist, taken mostly from the Old Testament books of “Isaiah” and “Malachi.” The Christmas story, as recounted in “Luke” comes complete with an exquisite instrumental pastorale, in true baroque Christmas concerto style, leading to a hopeful conclusion with the beautiful and tender aria He shall feed His fl ock and the buoyant choral fugue His yoke is easy. Part II begins dramatically with the dark chorus Behold the Lamb of God. From there, the passion of Christ is told starkly, though not with texts taken directly from the gospels, but rather as anticipated in “Isaiah” and the “Psalms.” An account of the glory of God climaxes in the rousing Hallelujah, with words taken from the “Book of Revelation.” It was an early performance of Messiah, attended by King George II, that began the tradition of rising for this chorus. So taken was he by the music, the King stood, and when he did, everyone else did out of respect. We’ve been doing it since. The actual resurrection of Christ seems almost skimmed over in Part II, but in Messiah’s Part III, the resurrection is meditated upon in great detail, beginning with the beautiful I know that my Redeemer liveth. Judgement day is looked for in the tense Why do the nations so furiously rage together? and the grand Th e trumpet shall sound. With appropriate choral flourish, Messiah closes with the declamatory Worthy is the Lamb that was slain and another grand fugue on the word “Amen.” Program notes © 2011 by D.T. Baker


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2011/2012 SEASON

A Lightly Classical Christmas Wednesday, December 21 | 7:30 PM Thursday, December 22 | 8 PM

Stuart Chafetz, conductor Nathan Berg, bass-baritone Richard Eaton Singers, (Leonard Ratzlaff, Music Director) Alicia Hui, guest concertmaster


“O Come, All Ye Faithful” (arr. Wilberg)


“What Child Is This?” (arr. Lapalme)


“Shepherd’s Pipe Carol” (arr. Hazell)

GRUBER / MOHR / YOUNG “Silent Night” (arr. Rival)


“God Rest Ye Merry, Gentlemen” (arr. Goldstein)


“Do You Hear What I Hear?” (arr. Hayen)



“’Twas the Night Before Christmas”

“When Christmas Comes Again” (arr. McPherson)



Home Alone: excerpts

“Somewhere in My Memory” “Star of Bethlehem” “Merry Christmas, Merry Christmas”

“You’re a Mean One, Mr. Grinch” (from How the Grinch Stole Christmas / arr. McPherson)

ANDERSON “Sleigh Ride”

INTERMISSION (20 minutes)








Program subject to change

“O Holy Night” (arr. Wilberg)

“Hark! The Herald Angels Sing” (arr. Wilberg)

“Ding Dong Merrily On High” (arr. Wilberg)

“The First Noël” (arr. Wilberg)

“The Most Wonderful Time of the Year” (arr. Lapalme) “Have Yourself a Merry Little Christmas” (from Meet Me in St. Louis / arr. Hazell) Series Sponsor

Performance Sponsor

“Joy to the World” (arr. Wilberg)

Mr. Eddins’ bio can be found on page 6. Artist’s bios and program notes continue next page.

Media Sponsor

Media Sponsor

Media Sponsor

Bill & Mary Jo Robbins DECEMBER 2011


2011/2012 SEASON ROBBINS LIGHTER CLASSICS A Lightly Classical Christmas



American Ballet Theater. A graduate of the Eastman School of Music and the University of Cincinnati-College Conservatory of Music, Mr. Chafetz was Principal Timpanist of the Honolulu Symphony for 20 years. Mr. Chafetz and his wife, conductor Ann Krinitsky, currently divide their time between homes in California and New York. This is Mr. Chafetz’ debut with the ESO.


ounded in 1951 by the late Richard S. Eaton, Edmonton’s symphonic choir, RICHARD EATON SINGERS (RES), has played a leading role in the cultural community of the city for six decades. RES performances have included many Edmonton and Western Canadian premieres of choral masterpieces such as Bach’s St. Matthew Passion and St. John Passion, Mendelssohn’s Elijah, Elgar’s The Dream of Gerontius and Vaughan Williams’ Sea Symphony. RES has also commissioned and produced world premiere performances by Canadian composers, including Mark Sirett’s In Praise of Music, Christos Hatzis’ The Sepulcher of Life and The Houses Stand Not Far Apart by John Estacio. In March 2010, the choir premiered A Song of the Seasons by Canadian composer Ruth Watson Henderson with text by E. D. Blodgett to celebrate the 25th anniversary of Leonard Ratzlaff ’s artistic leadership of RES.


TUART CHAFETZ is the Resident Conductor of the Milwaukee

Symphony Orchestra. His guest conducting appearances include The Buffalo Philharmonic, Chautauqua Symphony, Chicago Symphony, Detroit Symphony, Florida Orchestra, Fort Wayne Philharmonic, Honolulu Symphony, Jacksonville Symphony, Louisiana Philharmonic, Louisville Orchestra, Milwaukee Symphony, Naples Philharmonic, New Mexico Symphony, Toronto Symphony and Virginia Symphony. Mr. Chafetz has worked with a variety of classical and pop artists such as George Benson, Roy Clark, Natalie Cole, Jean Phillipe Collard, John Denver, Marvin Hamlisch, Thomas Hampson, Wynonna Judd, Jason Scott Lee, Marilyn McCoo and Billy Davis, Jr., Jim Nabors, Randy Newman, Jon Kimura Parker, Bernadette Peters, Awadagin Pratt, Preservation Hall Jazz Band and Chee Yun. As Music Director of the Maui Symphony and Maui Pops Orchestra from 1999-2009, Mr. Chafetz oversaw remarkable artistic growth and vastly increased statewide exposure. Formerly the Associate Conductor of the Louisville Orchestra and the Assistant Conductor of the Honolulu Symphony, Stuart became a powerful advocate for the musical education of young people and their families. He has conducted hundreds of performances nationwide focusing on the importance of classical music and the fine arts in our everyday lives.

The choir has travelled extensively across Canada, to the Netherlands and Britain and has exchanged with other choirs including the Vancouver Bach Choir. A highlight for RES was its participation at Festival 500 in Newfoundland in 2003. RES is honoured to have been associated with the Edmonton Symphony Orchestra for the past 60 years. This partnership created many memorable choral events in our city, including September 1997’s performance of Mahler’s 8th Symphony (“Symphony of a Thousand”) with the ESO to commemorate the opening of the Winspear Centre. To celebrate its 60th anniversary, RES and conductor Leonard Ratzlaff present the renowned Stuttgart Chamber Choir under the direction of their artistic director Frieder Bernius on March 14, 2012 and perform Handel’s Israel in Egypt in April 2012 with the Alberta Baroque Ensemble and soloists on April 22.

Mr. Chafetz hosted a nationally aired PBS special, Hawaii: The Old and the New, featuring some of Hawaii’s most talented young performers, which is still being seen throughout the nation. In addition, Maestro Chafetz has conducted over 30 performances of Tchaikovsky’s Nutcracker with Ballet Hawaii, The Honolulu Symphony and principals from the 28 SIGNATURE


e was born in Saskatchewan, but NATHAN BERG’s vocal studies have taken him through Canada, America, France (Paris to be exact) and the Guildhall School of Music (where he won the Gold Medal for Singers). His wide-ranging career has moved between his love of song to concert and opera in a vast range of styles and time periods. In recital, he has appeared at the Wigmore Hall in London, Lincoln Center in New York and many other prestigious venues around the world. As an in-demand, “first-class” (Boston Globe) and versatile bass-baritone, Mr. Berg has worked with many distinguished conductors including Masur, Salonen, Christie, Herreweghe, Tortelier, Norrington, Leppard, Rilling and Tilson Thomas – also with most of the world’s greatest orchestras. Among his operatic work, he has appeared in roles including Mozart’s Figaro, Leporello, Don Giovanni and Guglielmo.

Other roles were Puccini’s Scarpia, Marcello and Coline in addition to Wagner’s Dutchman, Verdi’s Ferrando, Rossini’s Alidoro and Rameau’s Huascar. His numerous Handel roles took place in Glyndebourne, Paris National Opera, Netherlands Opera, La Monnai, New York City Opera, English National Opera, Welsh National Opera, Trieste and Bavarian State Opera, to name just a few. A Grammy nominated and Juno Award winning artist, some of Nathan Berg’s recording highlights include CDs with Les Arts Florissants including Messiah and the Mozart Requiem. Other notables include songs by Othmar Schoeck and a Lieder Recital recording with Julius Drake, Dvořák’s Stabat mater, and recent DVD releases of Lully’s Armide (Theatre des Champs-Elysees) and Rossini’s Cenerentola (Glyndebourne). Highlights in the 2011/2012 season includes Scarpia (Tosca) with Edmonton Opera, Beethoven’s Ninth Symphony with the Atlanta Symphony, Houston Symphony and San Francisco Symphony, Dvořák Te Deum with Cleveland Symphony, Huascar in Les Indes galantes with Théâtre Capitole, Valens in Handel’s Théodora with Le Concert Spirituel and debut performances of Mahler’s Kindertotenlieder with the Seattle Symphony. Mr. Berg last appeared with the ESO at Richard Eaton Singers’ performance of Beethoven’s Missa solemnis last month. He will also appear at the Christmas Concert / Handel’s Messiah (see page 21).

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most of the time? And no, we don’t mean through tinny speakers at the shopping centre. But maybe around the piano, singing while a relative plunks out the chords? Or maybe church, accompanied by an organ? What we’re getting at here is that most of the songs we hold so close to our hearts this time of year were not written with a major symphony orchestra in mind. So they have to be arranged – recast and rethought – and the best arrangements not only keep the magic these favourite songs have, they add a lustrous new dimension to them. The great choral arrangements by Mack Wilberg we’ll hear tonight (“O Come, All Ye Faithful,” “O Holy Night,” “Hark! The Herald Angels Sing,” “The First Noël” and “Joy to the World”) are being given their ESO premieres tonight. Wilberg is an American composer, arranger and conductor who, in 2008, became Music Director of the world-famous Mormon Tabernacle Choir. In December 2006, the ESO presented a holiday concert with special guest, Canadian jazz artist Denzal Sinclaire. For the performance, Red Deer Symphony Orchestra Music Director Claude Lapalme (from whom the ESO has commissioned many fine arrangements) orchestrated “What Child Is This?” and “The Most Wonderful Time of the Year.” The two arrangements by Chris Hazell (“Shepherd’s Pipe Carol” and “Have Yourself a Merry Little Christmas”) were written for a Christmas recording on the major German classical music label Deutsche Grammophon by Welsh baritone Bryn Terfel (Carols & Christmas Songs) in 2010. Our performances will be their Canadian premiere. Arguably the most famous Christmas Carol of all, “Silent Night” came about because of a broken organ. St. Nicholas Church, in the small Alpine village of

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Oberndorf, Austria, did not have a functioning organ for midnight mass on Christmas Eve, 1818. A priest in the church, Joseph Mohr (1792-1848), gave the words to a poem he had written two years earlier, “Stille Nacht” (“Silent Night”) to his friend Franz Gruber (1787-1863), who composed music to be played on a guitar, quietly accompanying the tender words. New ESO Composer in Residence, Robert Rival, arranged “Silent Night” for this performance with Nathan Berg and Richard Eaton Singers. He took as his point of entry the carol’s origins as a song for guitar and voice – then expanding it outwards. Each stanza, moreover, is in a different language (German, then French, Ukrainian, and finally English). “God Rest Ye Merry, Gentlemen” is widely held as the oldest extant English Christmas carol. Tonight’s lively, and well, merry arrangement is by Ron Goldstein. By contrast, Todd Hayen’s arrangement of “Do You Hear What I Hear?” sets one of the most recent holiday songs to establish itself as a seasonal favourite. It was written in October 1962 by Noël Regney (lyrics) and Gloria Shayne Baker (music). John McPherson is Principal Trombone of the ESO, and a fine composer and arranger in his own right. “When Christmas Comes Again” was written by tonight’s guest artist Nathan Berg. Mr. McPherson created the orchestration specifically for tonight’s concert. He tried to make his arrangement of the delightful “You’re a Mean One, Mr. Grinch” (from the famous Chuck Jones-directed cartoon Dr. Seuss’ How the Grinch Stole Christmas) sound as close to the animated feature’s original setting as possible. Program notes arranged by D.T. Baker, with thanks to Robert Rival and Rob McAlear

8/24/11 4:12:05 PM




Gabriella Bergsten’s love of the ESO began with a newspaper ad and blossomed into a commitment for life


her ride to school in the morning was a relaxing, “everyday” ritual that instilled in her an enduring appreciation for music. When she was a university student in September 2006, she saw an ad for an ESO concert featuring organist Patrick Wedd and, as a lover of organ music, she persuaded her mother and sister to attend with her. “My fi rst experience of live orchestral music was at the Winspear four to fi ve years ago. And I was hooked! I was transfi xed by the sounds. It was just unreal. After having that ‘wow’ experience, I said to my mom and sister that we should go again. Now, it’s something we can look forward to: our Friday night family time.” It is not only the music that keeps Gabriella coming back. She feels a personal connection with the musicians and staff due to the various interactions she’s had throughout the years. Inspired by the excitement she felt upon meeting eminent musicians through the OPUS events and chatting with the conductors during “Afterthoughts,” Gabriella decided to donate. She was, in fact, one of the fi rst donors to the “My Winspear” monthly pledge program. “It’s a lovely program. I mean, it’s the price of a couple Starbucks a month, but it’s something the organization can count on. I give to other organizations, but none of them make me feel as important or involved, or leave me with the feeling that my money is being so well used as [the ESO/Winspear]. Th at’s what makes me want to give as a donor. I feel appreciated, like I’m part of the symphony. There is this sense that they are my symphony. I’m proud of them.” Gabriella’s delight about her ESO experiences turned her into a goodwill ambassador for the symphony. Her pleasure in the music is increased by sharing it with people she loves, not only because of the events themselves, but for the many conversations that arise from the experience and all the interesting things she learns from the program notes and Preludes. When asked how she gets so many friends to join her, she replied that since she is forever “gushing about the ESO,” her friends started to ask her to tell them when the next concert is coming up. The day Gabriella took possession of her fi rst house, she celebrated by attending a Cameron Carpenter organ concert with her sister, her parents, her grandparents and numerous friends. Looking around the concert hall, she felt a sense of pride and belonging, knowing that seats in various sections were occupied by people she had introduced to the symphony. “Coming to the symphony is kind of our sanctuary. It’s a reminder that there is a lot of beauty in the world, and that there is so much value in what the arts bring to your life. I never intend to stop subscribing to the ESO. I am already imagining that future day when I fi nd a flower on my seat at a concert as a thank you for being a 40+ year subscriber.” Let us know what your favourite flower is, Gabriella. We’ll make sure it is waiting for you!


Gabriella Bergsten, ESO subscriber and donor

“Coming to the symphony is kind of our sanctuary. It’s a reminder that there is a lot of beauty in the world, and that there is so much value in what the arts bring to your life.”




Steven LePoole with his wife, Day, and soprano Renée Fleming at the 2008 ESO Gala



Society held in November, the change in board chair may have only looked like an item on the meeting agenda, but actually has a significant impact to the ESO family. Jim E. Carter is the incoming Chair of the Board of Directors, bringing to an end the dedicated tenure of Steven LePoole. “I grew up with classical music in my house because of my mother’s influence,” he says of his nearly lifelong love of music. “I remember listening to LPs in the late ’50s and early ’60s. My mother would wake me up with Beethoven and coffee when I was working the night shift – she’d love to see that as a quote. And I remember when I was in university, I’d go to the Edmonton Symphony at the Jube on Sunday afternoons in the early ’60s. It’s a long-term passion.” Mr. LePoole is retired now from running Diversified Technologies, where he started in 1972 and became president in 1984. He and his wife, Day, have been married 46 years and have two children. Before joining the board of the Edmonton Symphony Society, Steven says he cut his teeth when he was asked to join the board of the Alberta Baroque Music Society by its Artistic Director (and ESO Assistant Principal Oboe) Paul Schieman. “I used to send my season renewals in a company envelope,” he recalls. “One day Paul phoned me and said this company that’s on your envelopes when you send in your renewals, would they sponsor a concert? And I said, ‘Of course they would.’ So Paul got me sponsoring, and about a year later, he and Howard Spraggins asked me to sit on the board. So Paul taught me everything I needed to know about Arts Management, which is, don’t mess with the artistic side,” he adds, laughing. “Steven began his term as Board Chair at the same time that I joined the ESO, and I feel deeply privileged to have worked alongside him these 32 SIGNATURE

“We have been extremely lucky to have had Steven as our Board Chair the past four years, and it has been my distinct pleasure to work hand-in-hand with him towards helping the ESO be the best it can be. Hopefully all of his incredible patience will be well-rewarded.” - William Eddins, ESO conductor and Music Director

past four years,” says Annemarie Petrov, Executive Director of the ESO and Winspear Centre. “As Chair, not only has he provided exceptional leadership and vision to the organization, but his deep love of music, his generosity of spirit and openness to new ideas, and above all, his sense of humour, have been a tremendous inspiration.” As Board Chair, Steven LePoole certainly had a higher profile than many who help behind the scenes, but he’s quick to acknowledge the team effort involved. “I’ve had people say to me at the end of a concert, ‘That was a great concert, thank you.’ I’d say, ‘I had nothing to do with it,’ ” he explains. “There are so many other people that really make it happen. You know, it’s a job that has a lot of responsibility and stress involved, but after everything you work on, everything you do, and all the effort – sitting in the hall and letting the music wash over you, it makes it all worthwhile.” Music Director William Eddins is very grateful for what Steven has brought to the organization. “It takes a special kind of person to be an effective Chair of an orchestra - smart, open-minded, and most of all, patient,” Mr. Eddins writes. “We have been extremely lucky to have had Steven as our Board Chair the past four years, and it has been my distinct pleasure to work hand-in-hand with him towards helping the ESO be the best it can be. Hopefully all of his incredible patience will be well-rewarded.” Mr. LePoole says he has little advice he can impart to Jim E. Carter, his successor. Except, maybe this. “I guess the principal thing is there are a lot of different constituents in the orchestra. There’s the musicians, the audience, the administration, donors, foundations – my advice would be, stay focused on the audience.” As for why he has dedicated so much of his time to the arts, he is very succinct. “Music is good for the soul, it helps in your general well-being.”


Join your Edmonton Symphony Orchestra this holiday season for

Christmas at the Winspear, December 2 - 21, 2011 Great Christmas gift ideas for the whole family: Gift Certificates Disney in Concert

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E-SWAT RETURNS FOR THE HOLIDAYS THEY LURK IN THE SHADOWS, waiting for just the right moment to swoop in unexpectedly and with the precision of a strike team. Because that’s what E-SWAT is. The Edmonton Symphony Orchestra’s most useful acronym, at this time of year E-SWAT stands for Edmonton Symphony Wassailing Away Team, is bent on spreading its unexpected yet always welcome holiday cheer to dozens of Edmonton and area locations. E-SWAT was begun by ESO Principal Trombone John McPherson, and to date has performed over 100 presentations. John does the arranging himself, and this time of year, he can usually cram dozens of Christmas songs and carols into an E-SWAT performance – which lasts between eight to ten minutes, on average. At corporate offices, hospitals, media outlets, LRT stations, and even City Hall, E-SWAT shows up, inflicts their musical strike of good cheer, and is gone as quickly as it arrived. Be watching – you never know when their attack of good cheer will bring an unlooked-for smile to your face. You’ll never know what hit you.

The Winspear Centre & Edmonton Symphony Orchestra cordially invite you to attend our


Information Session & Tour Come hear all about the history of the ESO and Winspear Centre and our vision for the community. We will provide a complimentary lunch followed by a backstage tour of one of North America’s most exquisite concert halls! Upcoming Dates • Thursday, December 8th • Wednesday, December 14th • Tuesday, December 20th We all have busy schedules and this is why we promise to keep this session to one hour from 12:00 noon until 1:00 pm. These events fill up fast so if you would like to attend please RSVP to: Erin Mulcair at 780.401.2539 or

E-SWAT members “in character” (l to r): Julianne Scott, Allene Hackleman, Robin Doyon, John McPherson, Nora Bumanis. Photo: Aaron Au



N 1952, A SMALL GROUP of dedicated visionaries formed the Edmonton Symphony Society with the goal of solidifying the Edmonton Symphony Orchestra as an ongoing, sustainable organization, determined to provide Edmonton with the finest in orchestral music, enrich the lives of its audiences and enhance the quality of life for the entire community. Since then, the ESO has grown from a part-time community orchestra, rehearsing at night, to a full-time core of 56 musicians who come here from all over the world to transcend the original board’s vision. The orchestra’s performance home is the magnificent Francis Winspear Centre for Music – another goal realized by ESS Board members and other committed community volunteers. The ESO’s budget is $8.5 million annually, and it performs over 85 concerts, in addition to performances with Edmonton Opera and the Alberta Ballet. None of this would be possible without the tireless work of the Board of Directors and the society which they voluntarily administer.

LIST OF PAST BOARD CHAIRS Mrs. Marion Mills Dr. H.V. Rice Mr. John D. Dower Mr. Gerry M. Wilmot Dr. A.O. Minsos Mr. E.M. Blanchard Mr. A.G. Culver Mr. D.D. Campbell Mr. D.M. Ramsay Mr. Merrill E. Wolfe Mr. Ken R. Higham Mr. George M. Peacock, Q.C. Mr. Robert L. Horley The Honourable David C. McDonald Mrs. Madeline Williams The Honourable Tevie H. Miller Mr. Jack W. Kennedy The Honourable Roger P. Kerans Mr. Richard W. Palmer Dr. John R. Huckell Dr. John L. Schlosser Mr. J.R. Singleton Mr. D.A. Cox Mr. Ron Ritch Mrs. Margaret Clarke Mr. Brian Hetherington Mr. Charles T. Austin Mr. Neil Wilkinson 36 SIGNATURE

1952-53 1953-54 1954-56 1956-57 1957-58 1958-59 1959-60 1960-61 1961-62 1962-63 1963-65 1965-66 1966-67 1967-68 1968-69 1969-70 1970-71 1971-72 1972-73 1973-76 1976-77 1977-79 1979-80 1980-82 1982-84 1984-86 1986-88 1988-90

1990-93 1993-95 1995-97 1997-00 2000-01 2001-03 2003-04 2004-07

Mr. Robert Binnendyk Mr. Ron Pearson Ms. Audrey Luft Mr. Andrew Hladyshevsky, Q.C. Mr. Douglas Noble Mr. D. Mark Gunderson, Q.C. Mr. W.D. (Bill) Grace, F.C.A. Mrs. Phyllis Clark



Steven LePoole, Chair Jim E. Carter, Vice Chair Phyllis Clark, Past Chair Ron New, C.A., Treasurer Brian W. Summers, LL.B., Secretary / Legal Counsel Carolyn Campbell Maria David-Evans Colin Eicher Brad Ferguson Ricki Golick William Harrison Elizabeth Hurley Carol Ann Kushlyk, C.M.A., C.F.E. Reginald Milley Edith Stacey Rhonda Taft Richard Wong


Hilda Nelson, Interim Executive Assistant

at 780.401.2544 or


EXECUTIVE Annemarie Petrov, Executive Director Hilda Nelson, Executive Assistant & Board Liaison Meghan Unterschultz, Grants & Research Specialist

ADMINISTRATION Leanne Persad, Front of House Manager Cristina Weiheimer, Internal Control Specialist

ARTISTIC OPERATIONS Rob McAlear, Artistic Administrator Jerrold Eilander, Orchestra Operations Manager Susan Ekholm, Library Assistant Eric Filpula, Orchestra Personnel Manager Sheila Jones, Orchestra Librarian

FINANCE & OPERATIONS Barbara Foley, Director of Finance & Operations Sandy Carter, Senior Accountant Shirley Chaytor, HR Payroll Coordinator Dave Clark, IT Support Beth Hawryluk, Tessitura Systems Analyst Olena Kotova, Accountant

COMMUNITY RELATIONS Patti Stewart, Director of Community Relations D.T. Baker, Music Resource / Publications Editor Melissa Di Natale, Education & Community Relations Coordinator Philip Paschke, Communications Manager Michael Schurek, Marketing & Sponsorship Manager EVENTS MANAGEMENT Ally Mandrusiak, Interim Director of Events Management Warren Bertholet, Head Lighting Technician* Diana de Sousa, Client Services Coordinator Rob Hadfield, Head Audio Technician* Grant Johnson, Technical Director* Alan Marks, Head of Stage Management* Mike Patton, Assistant Head of Stage Management*

IT MUST SEEM ODD for the members of a non-profit, donation-seeking arts organization to work so hard for other charities, but you don’t make your living in the arts without having a sense of “the big picture.” That’s why E-SWAT (see page 35) does what it does. And that’s why during holiday concerts this season, you’ll find Santa-capped members of the ESO collecting donations for the Edmonton Food Bank for the third straight year. The inspiration was ESO violinist Rob Hryciw, who took donations for several seasons from among his fellow musicians to support CBC’s annual Turkey Drive. That got another violinist, Susan Flook, thinking how that generous act could be expanded. Out into the lobbies they went, and from there, Flook is quick to credit the generosity of ESO patrons for the successful fundraising they’ve done.

PATRON DEVELOPMENT Elaine Warick, Director of Patron Development Catherine Boissonneau, Box Office Supervisor Eleanor Finger, Patron Relations Manager Erin Mulcair, Patron Relations Associate Erika Ratzlaff, Patron Relations Manager Teresa Ryan, Special Projects Manager Connie-Lee Thomlison, Box Office Manager Adam Trzebski, Audience Development Associate Cat Walsh, Box Office Assistant Supervisor *THE ESO & WINSPEAR CENTRE WORK IN PROUD PARTNERSHIP WITH IATSE LOCAL 210

Last year, ESO musicians collected over $17,000, making it the single largest contribution to the Turkey Drive in 2010. This year, join the musicians of your orchestra in helping those who so desperately need it this holiday season. ESO Food Bank fundraisers (L to R): Derek Gomez, Victor Pipkin, Ronda Metszies, Susan Flook, Mikiko Kohjitani, Zoë Sellers, Tatiana Warszynski and Andrew Bacon



Community Support of the Edmonton Symphony Orchestra & Winspear Centre

The Edmonton Symphony Orchestra is a registered charitable organization, incorporated under the Societies Act of the Province of Alberta on November 22, 1952. As Canada’s fourth largest professional orchestra, the ESO is financed by ticket sales, grants from government agencies, and by contributions from corporations, foundations, and individuals. Government Agency Support:

Series Sponsors

Title Sponsor

Title Sponsor

Landmark Classic Masters


Sunday Showcase

Robbins Pops / Robbins Lighter Classics

Presenting Sponsor

Title Sponsor


Late Night with Bill Eddins

Esso Symphony for Kids

Friday Masters

Our Program and Education Sponsors



Musicians in the Making


Resident Conductor

2 for 1 Subscription Campaign

through the Edmonton Community Foundation



K to Gr. 3 Education Program

Naming Sponsor ENMAX Hall

Gr. 4 to 6 Education Program

Presenting Sponsor

Christmas at the Winspear


Gr. 7 to 12 Education Program

Presenting Sponsor

Christmas at the Winspear

Our Performance Sponsors

Our Media Sponsors


Capital FM




Edmonton’s Child Magazine

Edmonton Journal

Joe FM

Our Exclusive Caterers

Our Suppliers

Official Bike Supplier to the ESO Conducting Team

Publications Sponsor

Official Floral Supplier

Official Home Town Fan Agency to Carnegie Hall

Official Airline to Carnegie Hall

Print Sponsor

Beer Supplier

Wine Supplier


Art The

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ESO Signature Magazine December 2011  
ESO Signature Magazine December 2011  

ESO Signature Magazine December 2011 Volume 27 Number 3