Tag: classical-music

London Symphonia brings Broadway shimmer and gospel fire into the concert hall

by Richard Young

Previewed by Daina Janitis

Yes, I know The Beat Magazine publisher has dubbed me a local scribbler about “classical music” – but the London Symphonia concert on Saturday night doesn’t look as though it fits into that niche until you read about the organizer, the soloists, and the choir and orchestra players who will bring that stage alive with an authentic greeting of the season!

Care to glance at The Sounds of Home program?

Snow (from White Christmas) Music and lyrics by Irving Berlin. A Place Called Home (from A Christmas Carol) Music by Alan Menken. Lyrics by Lynn Ahrens. On the Street Where You Live (from My Fair Lady) Music by Frederick Loewe. Lyrics by Alan Jay Lerner. It All Fades Away (from The Bridges of Madison County) Music and lyrics by Jason Robert Brown. I Love the Way (from Something Rotten). Streets of Dublin (from A Man of No Importance), and many more classic selections from the stage and celebration.

“Classical”- I don’t know- but I DO know that this is ART MUSIC with roots in church choirs, jazz clubs, and musical theatre, carried by the colours of a live orchestra. It challenges, delights- and empathizes – and it’s brought to you by magnificent performers with roots in this community.

(Pictured: Alexandra Kane.)

Do you know Alexandra Kane? She’s a Music graduate of Western University, but also holds degrees in Communication from Fanshawe and in DEI from Cornell (I wonder if that program still exists in Trumpland?). She is a music director, singer, activist, TV producer- and you already may have witnessed her incredible work at the Grand Theatre.

If you’ve lived in this area for a while, you know Olivia Sinclair-Brisbane. Born and raised in London, Olivia began her career at the Grand Theatre in Annie at the age of 12. From Original Kids and Amabile Youth Choir to attending H.B. Beal Secondary School and participating in the Grand Theatre’s High School Project, Olivia went on to Sheridan College for Musical Theatre Performance. From there, four seasons at Stratford in Cabaret, Mamma Mia, and Something Rotten.

(Pictured: Olivia Sinclair-Brisbane and Henry Firmston.)

Henry Firmston grew up in London, where he performed in four seasons of the Grand Theatre’s High School Project (2011-2015) and for two years in Beal Musical Theatre. He’s spent the last seven seasons performing at Stratford, in shows like The Music Man, Rocky Horror, Billy Elliot, Little Shop of Horrors, Chicago, Spamalot, Annie, and Dirty Rotten Scoundrels.

(Pictured: Tiffany Deriveau.)

Tiffany Deriveau  All right- not a Londoner but a Windsor-born performer of Afro-Haitian and Indo-Guyanese heritage. She has over twenty-five professional credits across stage, film, and television. She’s appeared in productions with Mirvish, Stratford, Soulpepper, Charlottetown Festival, Drayton Entertainment, and the Grand Theatre – and her screen credits are from Disney, Netflix, NBC, and MTV.

(Pictured: Trevor Patt.)

Trevor Patt is another Londoner who has been in professional theatre now for over fifteen years after his start in London with Original Kids, The Grand Theatre High School Project (‘06,’07), and Beal Music Theatre. He then went on to graduate from George Brown College’s ballet program and Sheridan College’s Music Theatre program. His versatility has amazed audiences from coast to coast and during six seasons in Stratford – Spamalot, The Rocky Horror Show, and the North American premiere of Shakespeare in Love.

And there’s a choir too – the London Gospel Collective!

Who are they? Let’s ask them:

  • We are a diverse, spiritual community uniting through the power of worship and gospel music.​
  • We arrange and perform gospel songs which inspire others through messages of hope and thanksgiving. We sing to worship and connect spiritually with the City of London, particularly its Black communities. The people in the choir and the songs we sing emphasize hope and unity through faith.

Our city’s symphony, some of the brightest performing stars London has nurtured, and a cultural tapestry that will make you even prouder of being a Londoner, will be on stage at the Metropolitan Church on Saturday night. Be part of it!

IF YOU GO:

What: London Symphonia presents The Sounds of Home.

When: Saturday, December 6, 2025, at 7:30pm.

Where: Metropolitan United Church, 468 Wellington Street, London, ON.

Tickets: https://www.londonsymphonia.ca/event/sounds-home

Previewed by Daina Janitis

Daina Janitis previews the London Youth Symphony’s Old Friends and Overtures, November 29.

by Richard Young

Previewed by Daina Janitis

“In an orchestra, the whole is greater than the sum of its parts. Together, we can create something truly extraordinary.” – Yo-Yo Ma

And looking at this recent photo of the London Youth Symphony on that beautiful stage at The Met below, these words resonate.

(Pictured: London Youth Symphony.)

They bring back sweet memories: Taking my stoic 12-year-old son and his bassoon to an audition with conductor Jerry Summers over 30 years ago. Wondering how he’d get through the chosen piece, some scales on that gigantic piece of pipe, and then a piece of sight-reading. When he was accepted, there were cheers from his nerdy parents and a chocolate cake at Sebastian’s on Richmond.

And then his mom started over 30 years of volunteering for London’s youth orchestra, thankful for what orchestra playing provided for her own kids.

Oh, the Londoners in LYS whose performances continued to enrich our lives ~

String players like Alex, who went on to Montreal’s Symphony.

Andrea, who is now part of the Montreal ensemble she created:  collectif9.

Susan, who left London to study at Oberlin and was principal cello in Louisiana before returning to London to teach and inspire.

Becky, who played in a Polish salt mine- and the Krakow Cathedral – but now delights audiences in Kitchener-Waterloo.

But equally inspiring- the LYS musicians who used their talents in other fields ~

Steve, who adds fire to the local community orchestra while completing his epidemiology degree.

Sharon, who started her own Suzuki school to help generations of little ones flourish.

Ana, a dedicated therapist who also plays her violin in LCO.

Mary, the oboist- member of the first LYS over 60 years ago, still sets that tuning A for the community orchestra.

So why am I indulging in personal memories as the first LYS concert of Season 2025-26 begins?

Because I find the power of the music these young people rehearse, the energy that their conductors and mentors provide their efforts, and the willingness of the audience- even non-family members – to offer them applause, one of the most powerful beacons of hope in a world that is showing the distressing speed at which values can be lost.

Only this past weekend, some of you might have seen this demonstration by some gentlemen across the Wortley Road Bridge in London.

This group announces on its website that The Second Sons is a men-only, Canadian white nationalist group. The group operates chapters throughout Canada, using gyms as meet-up spots and to train their fitness via martial arts. The group appears publicly in white masks and sunglasses, similar to the Patriot Front, and has adopted a modified version of the Red Ensign as its logo.

 What would they and their “Remigration Now” banner make of the LYS kids (and their supportive families), whom you can hear this Saturday night? What would they learn from the Kims, Lees, Sanatanis, Wongs, and Smiths who create beautiful harmony and stirring rhythms with notes put together by composers around the world?

Overall, the discipline and collaboration required in classical music ensembles nurture well-rounded individuals who are socially aware, emotionally mature, and cognitively equipped, qualities that are invaluable for sustaining democracy and community life. This makes the London Youth Symphony’s first concert not only a musical event but a celebration of these deeper civic and personal benefits.

But as Daniel Barenboim reminded us, “An orchestra is not an orchestra without the musicians, but the musicians are not an orchestra without the audience.”

(Pictured: Argentine-Israeli classical pianist and conductor, Daniel Barenboim.)

Among a gazillion other accomplishments, Daniel Barenboim worked with the late Palestinian scholar to create a youth orchestra of young Israeli and Arab musicians. This ensemble was created to show that music can break down barriers once thought insurmountable. Their commitment is to showing that bridges can be built if we listen to each other’s narratives. You won’t be hearing the West-Eastern Divan Orchestra on Saturday night, but you WILL be part of building bridges and bearing witness to young people merging their right and obligation to create something exquisite for each other and for you.

(Pictured: LYS Conductor, Ben Bolt-Martin.)

And what scores will LYS Conductor Ben Bolt-Martin be bringing to life with his baton- and his dedication to London’s musicians? Some of them will be familiar to you – and I’ll even add some links to previous performances if you’d like to get your expectations ready:

There’s “Nimrod” from Enigma Variations — Elgar

Elgar’s “Enigma Variations” began almost as a private joke at the piano, when he started improvising little musical caricatures of his friends to amuse his wife after a long day of teaching and routine work. Each variation is a musical “portrait gallery,” where you can actually hear personalities, inside jokes, and even remembered conversations, yet the whole piece is wrapped around a secret hidden theme that Elgar claimed, “goes through and over the whole set, but is not played” and that he took to his grave without ever explaining. The “Nimrod” was written about a friend, but its slow, gentle start and rise to glorious sound have made it a favourite selection for funerals!

And what about Capriccio Italienne -Tchaikovsky?

Peter Ilyich’s love life was the pits at that time, but Tchaikovsky’s Capriccio Italienne was composed during that dark and turbulent time in his life, bursting with the vibrant energy of the Roman Carnival he witnessed firsthand. The piece captures the bright colours and lively folk tunes of Italy as Tchaikovsky absorbed local street music and dances, creating a joyful, almost theatrical celebration of a city that stirred something vital in his sensitive soul.

And are you ready for  Academic Festival Overture – Brahms?

Will you catch its irony? He offered it as a thank-you for a new degree – an honorary doctorate- and gave the bigwigs a rousing potpourri of boisterous student drinking songs rather than a solemn academic piece. He used four drinking songs and ended with “Gaudeamus igitur,” a centuries-old student anthem meaning “Let us rejoice, therefore, while we are young,” capturing the mischievous, playful spirit of youth amid a formal academic celebration.​

I‘m sure we’ve all heard this one, too – Overture to Der Freischütz – von Weber

Are you ready to take the risk of Weber’s overture to “Der Freischütz”? It stands out for how it dramatically sets the scene for the opera’s dark romantic tale of supernatural bargains and moral struggle, weaving together actual themes and motifs from the opera—especially the eerie diminished seventh chord associated with the devil figure Samiel and the lyrical hunting horn calls—into a vivid musical narrative.

Your openness of mind, your willingness to learn, and your celebration of some of London’s most inspiring young artists are gifts that you have the power to give and receive by your presence. An orchestral performance is a collaboration between the conductor, the musicians, and the audience. It is a shared experience where everyone involved becomes a part of something greater than themselves. It is a connection of souls, united by the power of music.

IF YOU GO:

What: London Youth Symphony presents Old Friends and Overtures.

When: Saturday, November 29, 7:30pm.

Where: Metropolitan United Church, 468 Wellington Street, London, ON.

Tickets: At the Door or https://lys.ticketspice.com/old-friends

Previewed by Daina Janitis

I Looked at all Those Smiling Faces all Members of the Toronto Symphony Orchestra …And They Looked So Excited to be Playing BACH!

by Richard Young

Daina Janitis previews The Jeffery Concerts: TSO Chamber Soloists Play Bach, November 23.

Full disclosure, I took piano lessons without whimpering – but even if I put on a scruffy coat, hunched over, and had unravelling gloves on my hands – I never got into a Glenn Gould state of mind to understand the lure of JS Bach.

But then I found the confession of a man who stuck with music teaching and performance – and explained the appeal of Bach to people with souls!

Ethan Hein is a music technology and music education professor- somewhere – and his personal admission hits the right note. Here’s what he has to say about Bach and his music:

(Pictured: Ethan Hein, The Ethan Hein Blog)

“I’m not a big classical music guy for the most part, but I never get tired of Bach. This stodgy eighteenth-century Lutheran doesn’t seem a likely inspiration for a hipster electronica producer like me. There aren’t too many other wearers of powdered wigs in my record collection, and Bach is the only one in the regular rotation.

Why? When I studied jazz guitar, I was encouraged to learn some Bach violin and cello music. I learned a lot about music theory that way, but I had a surprising amount of fun, too.

Why is Bach’s music so much cooler than anything else of his time and place? There are plenty of beautiful melodies and interesting thematic developments in other Baroque music, but they’re usually buried under tweedly curlicues. I get exhausted from all the jumping up and down between adjacent scale tones.

You never get the sense that Bach is just throwing notes at you to fill the space between ideas. This spare, economic quality shows most clearly in his solo instrument stuff. The single lines spell out both the melodies and the chord progressions clearly, using the spaces between the melody notes to deploy fragments of basslines or arpeggios. Bach gives your imagination just enough data to easily fill in the rest. Leaving notes out is a great way to draw in the listener. It invites us to participate in our heads.

Bach has huge geek appeal. He favored puzzle-like musical forms, canons and fugues, where the melody gets repeated as its own accompaniment. Bach’s music is dense with references and quotations of other works, and of itself. Bach’s love of recursion inspired Douglas Hofstadter to write a whole computer science book about him (and Gödel and Escher.)

See: http://www.quora.com/Book-Summaries/What-are-the-main-ideas-and-highlights-of-G%C3%B6del-Escher-Bach/answer/Ethan-Hein

Bach was a great quoter of the popular music of his time and place: hymns and regional dances. Since most of the music he was paid to write was for church services, it’s no big surprise that Bach did so much reworking and embellishing of hymns.

You couldn’t ask for a better education in what it means to embellish a theme than to hear Bach’s lines superimposed on the simple hymns. No wonder jazz musicians love him so much; the effect is similar to the way Charlie Parker sounds improvising on a showtune. (Bach was known in his lifetime as an improviser, which adds to his jazz cred.)

There’s something very algorithmic about the rule-oriented forms he wrote in, the canons and fugues, all that complex counterpoint. Every note that Bach ever wrote is on the web in MIDI format. http://www.jsbach.net/midi/index.html His music sounds pretty decent when played by robots (though it’s livelier when it’s played by humans.)

Bach wasn’t very highly regarded in his lifetime outside of a small, devoted circle of groupies. He didn’t hit the cultural big time until a hundred years after his death. He’d probably be amazed now at his elevated stature.” (Ethan Hein)

(Pictured: TSO Chamber Soloists)

And who are the musical powerhouses that will be playing Bach on Sunday afternoon?

Their bios with details of performances, awards, and recordings can be found on websites- but what do you NEED to know?

Jonathan Crow is their “curator.” He’s also been the concertmaster of the TSO since 2011, but travels the world concertmastering for other orchestras. He teaches violin at the University of Toronto and is an avid chamber musician – a founding member of the Orford String Quartet.

What is it with oboes and London, Ontario? Sarah Jeffrey is a London girl who plays that instrument superbly. You’ve heard the oboe jokes, haven’t you?

Oboist: Did you hear my last recital?

Friend: I hope so.

Oboe: “An ill wind that no one blows good.”

Sarah, however, has been praised for her “exquisite solo work,” her “luscious tone,” and her sensitive musicianship. She’s Principal Oboe of the TSO, a teacher at the Royal Conservatory, and mom of two kids.

Kelly Zimba Lukic joined the Toronto Symphony Orchestra as Principal Flute in 2017 – but leaves a trail of US orchestras in her debt. She’s celebrated as an innovative and inspiring teacher as well as a performer. Previously a flute fellow at the New World Symphony, she has performed with the Chicago, Pittsburgh, and Detroit Symphony Orchestras.

And Christopher Bagan? He’s another tough one to squeeze into an X (formerly Twitter) post. He’s a Doctor of Musical Arts (specialising in Schonberg) who performs baroque with equal fluency. If you’ve heard the tinkle of a harpsichord at the Canadian Opera Co., it was Christopher.

Is there anything else you should know before you get to the church, on time at 3:00 p.m.? Visit: https://youtu.be/IunEDER6Mws

Only that the Brandenburg Concerto #5 – the piece that will feature the whole ensemble – is incredibly beautiful. The link above leads to a Chicago Symphony chamber performance- but T-Rex Hand Position Up – our Canadian musicians will dazzle!

IF YOU GO:

What: The Jeffery Concerts: TSO Chamber Soloists Play Bach.

When: Sunday, November 23, 2025, at 3:00pm. 

Where: St John the Evangelist Church, 280 St James Street, London, ON

Tickets: Single Ticket Price: $40. Online at https://www.grandtheatre.com/event/toronto-symphony-orchestra-chamber-soloists? or at the door 

Student tickets: Available for free with a valid ID by emailing jefferyconcerts@gmail.com 

For more information about The Jeffery Concerts, visit https://www.jefferyconcerts.com/season2526/index.html

Follow on Facebook: https://www.facebook.com/thejefferyconcerts

Previewed by Daina Janitis

Tango with London Symphonia and Payadora this Saturday, November 15th

by Richard Young

Previewed by Daina Janitis

(Pictured: Members of Payadora Tango Ensemble – Mark Camilleri, Drew Jurecka, Rebekah Wolkstein, Elbio Fernandez, and Joe Phillips.)

Is there a heaven? And if there is, may I put in a request to end up here for eternity – with Antonio Banderas giving me tango lessons: https://youtu.be/6lAKlYTQVKY?si=cr3HQPzb1PvaROj-

Tango did not begin in a sad dance studio in Brooklyn. Tango is a passionate, provocative music and dance style that began in the working-class bars and brothels of Buenos Aires and Montevideo in the late 1800s, emerging from a melting pot of African, European, and local influences. Born where desire and melancholy intertwined, tango quickly became infamous for its sensuality and daring social dynamics—people danced close, in smoky rooms where the music’s erotic undertones mirrored the pulse of the city’s nightlife. It swept into the salons of Paris and beyond, transforming from a sultry scandal to an international sensation, all while keeping traces of its rebellious origins. (All right, while I fan my fevered brow, I’ll admit I got this history through AI research)

Tango’s music is syncopated rhythms played on bandoneon, violin, piano, and double bass – sometimes with voice that punches even higher on the emotional gauge.

Tango was danced by immigrants, misfits, and the marginalized in port neighbourhoods. Its lyrics and notes embody carnal passion. Its performance scandalized polite society but, naturally, fascinated them as well.

Today, Tango Nuevo renews the music and the dance for its sensuality, nostalgia, and emotional storytelling. It blends high drama, cultural fusion, and the thrill of improvisation. Check out this instructional video on dancing Tango Nuevo: https://youtu.be/2mtoTyMns8o?si=ENxIAGDhyPUjduGd

Who are the members you’ll hear – and later meet- of Payadora? The brilliant musicians were drawn together in 2013 by their love of this unique music. And their ensemble’s name? A payador is a male improvising poet-musician in South America, particularly Argentina and Uruguay (the feminine form is Payadora). These musical vagabonds roam the countryside,  improvising verses, often accompanied by a guitar, to respond to rivals in a musical contest known as a contrapunto. 

So, at The Met (corner of Wellington and Dufferin), how will you be hearing and seeing?

Our beloved composer-in—residence, Scott Good, will conduct members of London Symphonia and the musical powerhouses of Payadora.

(Pictured: London Symphonia’s Composer-In-Residence, Scott Good.)

Rebekah Wolkstein is the founder and leader of Payadora. She holds a doctorate in Violin Performance from U of T, plays in a classical string quartet- and excels in klezmer/Yiddish swing!

(Pictured: Rebekah Wolkstein, founder and leader of Payadora. Photo by Peter Yuan.)

Joe Philips– our hometown boy who lives here and is principal bass of London Symphonia – was born in Toronto. He also plays classical guitar and has appeared with orchestras and musical artists too varied – and many – to mention. I’ll just pop in Joel Quarrington’s name and Shane Cook’s, and the TSO, and Le Violons de Roi.

(Pictured: Joe Phillips, principal bass of London Symphonia.)

Drew Jurecka, an impressive jazz and classical violinist, began as the record producer of Payadora’s albums. His gifts on viola, saxophone, clarinet, and mandolin have made him a valued addition to performances by Jeff Healey, Jesse Cook, Stewart MacLean, and Alex Pangman. He’s composed movie scores- and takes time to teach at Humber College, where he’s created the only jazz strings program in Canada.

Drew is also the group’s bandoneon player – what is that, you ask? According to a post from the Los Angeles Tango Academy, “The bandoneon is a large, rather complicated concertina originally developed in Germany for churches that could not afford organs.”

(Pictured: Drew Jurecka playing the bandoneon. Photo by Karen E. Reeves.)

This monster of reed instruments has no keyboard, so it’s not the accordion we all conspire to keep Uncle Heinrich from playing at Christmas. It’s got 71 buttons, 38 for the right hand and 33 for the left. The musician uses both hands to push and pull air through bellows.

And for Mark Camilleri, music is life. Mark’s entire professional life embraces music, and he has had a wonderfully varied career for over 35 years. As Marvin Hamlisch put it, “Mark Camilleri, or ‘Mr. Canada, as I call him, is a one-man does-it-all musical powerhouse, whether he’s conducting, playing keyboards, or arranging.”

Mark has conducted countless shows for Mirvish, worked with film directors, and performed from the Vatican to the Oprah Winfrey show. He’s shared the stage with Andrea Bocelli, Celine Dion, Annie Lennox, and Eric Clapton.

And the vocals!

Elbio Fernandez is apparently known as El pequeño gigante del tango” (the little giant of tango) – but I’m not judging. Born in Uruguay, he is now a Canadian who performs around the world.

(Pictured: Payadora vocalist, Elbio Fernandez. Photo by Peter Yuan.)

And this Saturday, at 7:30pm, you can dream of being young, lithe, sensual, and worthy of someone asking you to tango.
To quote Sherman Alexie, ”If you really want a woman to love you, then you have to dance. And if you don’t want to dance, then you’re going to have to work extra hard to make a woman love you forever, and you will always run the risk that she will leave you at any second for a man who knows how to tango.”

IF YOU GO:

WHAT: LONDON SYMPHONIA CONCERT
Payadora – The Soul of Tango
London Symphonia, Scott Good, conductor, Payadora Tango Ensemble.

WHEN: Saturday, November 15, 2025, at 7:30 pm. Doors open at 6:30pm                                   

WHERE: Metropolitan United Church, 468 Wellington St, London, ON.

SUBSCRIPTIONS & TICKETS: Ticket packages start at $155 for a 3-concert General Admission subscription and $212 for Reserved Seating, plus fees and HST. 5-concert packages are also available. Individual adult tickets range from $55 General Admission to $75 Reserved Seating, plus fees and HST. Family Flex packs and free student tickets are also available. In-person subscriptions and tickets can be purchased online now at londonsymphonia.ca. 

Subscriptions to all concerts, including the Family Concert, and individual concert rentals are available on London Symphonia’s Watch and Listen video on demand channel. 

Find out more at londonsymphonia.ca.

Follow London Symphonia on Facebook https://www.facebook.com/londonsymphonia

To learn more about Payadora, visit http://payadora.com/

Follow Payadora on Facebook https://www.facebook.com/payadora

Previewed by Daina Janitis

London Symphonia presents Payadora – The Soul of Tango, November 15th at Metropolitan United Church

by Richard Young

Experience tango like never before when the award-winning Payadora Ensemble performs with London Symphonia in a concert sure to entertain. Payadora – The Soul of Tango is a genre-crossing celebration of rhythm, melody, and cultural connection that takes you on a vibrant journey from Argentina across Eastern Europe, exploring the music, song, storytelling, and dance behind this multidimensional art form that continues to captivate the world. Scott Good, London Symphonia’s Composer-In-Residence, will conduct.

Based in Toronto, Payadora has been officially endorsed by the Argentinian Consulate in Toronto for its authentic representation of the spirit of tango. The members combine their collective background in classical, jazz, and global music traditions to create their distinctive sound.

The group was founded in 2013, and its members are sought-after musicians in the Canadian chamber music scene, including Rebekah Wolkstein (violin, vocals), Drew Jurecka (bandoneon, violin, mandolin), Joseph Phillips (double bass, guitar), Mark Camilleri (piano), and Elbio Fernandez (vocals).

The superstar group has combined their deep knowledge of tango with their classical, jazz, and world music backgrounds to create something entirely new. Together with London Symphonia, this dynamic concert will dig deeper into the meaning of tango as an art form, telling stories of resilience and grace with an unwavering respect for tradition. “Over the past 13 years, Payadora has developed its musical personality from one that closely studied and emulated the great tango masters, to one that performs across Europe, North and South America to great musical acclaim,” said Andrew Chung, Artistic Producer, London Symphonia. “They have created a special London Symphonia concert version of the music they love so much, and we can’t wait to perform with them.”

(Pictured: Andrew Chung, Artistic Producer, London Symphonia.)

“It is with the greatest admiration that I see longtime Payadora member and London Symphonia principal bass, Joe Phillips, bringing together his favourite groups to celebrate this soulful music,” Chung added. “With Uruguayan roots and a lifelong love for this music, singer Elbio Fernandez’ extraordinary voice sings with the intensity and passion of the very best tango performers” 

Listen to members of Payadora talk about their November 15th appearance with London Symphonia in this video clip: https://www.facebook.com/share/r/17Rrfcrzs1

The soul of tango may have originated in Argentina and Uruguay, but it has long captivated the world with its mix of melancholy, passion, longing, and embrace. 

“We are excited to perform with London Symphonia,” said Rebekah Wolkstein, leader of the group. “This concert offers a vibrant and wide-ranging journey through Argentine and Latin-inspired music. From the dramatic sweep of tango classics by Mores, Piazzolla, and Gardel to contemporary works by Payadora members Rebekah Wolkstein and Drew Jurecka, the evening blends tradition with innovation. The program also features folkloric Argentine styles and theatrical songs, showcasing the emotional storytelling at the heart of this music. We hope you will join us. It’s going to be a great evening!”  

IF YOU GO:

WHAT: LONDON SYMPHONIA CONCERT
Payadora – The Soul of Tango
London Symphonia, Scott Good, conductor, Payadora Tango Ensemble.

WHEN: Saturday, November 15, 2025, at 7:30 pm. Doors open at 6:30pm                                   

WHERE: Metropolitan United Church, 468 Wellington St, London, ON.

SUBSCRIPTIONS & TICKETS: Ticket packages start at $155 for a 3-concert General Admission subscription and $212 for Reserved Seating, plus fees and HST. 5-concert packages are also available. Individual adult tickets range from $55 General Admission to $75 Reserved Seating, plus fees and HST. Family Flex packs and free student tickets are also available. In-person subscriptions and tickets can be purchased online now at londonsymphonia.ca. 

Subscriptions to all concerts, including the Family Concert, and individual concert rentals are available on London Symphonia’s Watch and Listen video on demand channel. 

Find out more at londonsymphonia.ca.

Follow London Symphonia on Facebook https://www.facebook.com/londonsymphonia

To learn more about Payadora, visit http://payadora.com/

Follow Payadora on Facebook https://www.facebook.com/payadora

Leave Your Halloween Worries In The Hands of Orlac – A Gothic Experience!

by Richard Young

by Daina Janitis

Admit it. Halloween is not your favourite holiday. But what worries you most about it?

  • That the neighbours in your suburb have decorated their housefronts with draperies, gravestones, witches that move and cackle – while rolling their eyes at your miserable single pumpkin on the porch?
  • That you’ll run out of candy early- and some irrepressible toddler will peer through a crack in your drapes and yell, “They’re in there!!! I can see them!” to the horde following?
  • That your teenage children claim they’re just going out for nostalgic fun- but their goodie bags clink oddly when they return home …  late …

The solution to every Halloween worry has been provided this year by the talent and imagination of Scott Good! Scott is the local genius who dispenses music as the Composer-in-Residence of London Symphonia.

(Pictured: Dr. Scott Good, Composer-in-Residence of London Symphonia.)

I hope you’ve met Scott- and even heard some of his compositions, but he keeps pretty modest about being “a composer, conductor, concert designer and trombonist whose music is driven by the desire to create beauty, evoke emotion, and play with groove. With a belief in the power of art to enable cathartic events, he has worked with a rich community of musicians, orchestras, ensembles, choreographers, actors, and artists to create intense, emotional, live performance experiences.” I Googled that

And his latest stroke of genius? Creating a score for a 1924 silent movie, the classic The Hands of Orlac. The “creepy movie” leaves ample space for the composer to utilize dissonant and esoteric sounds. With soloists Greg Oh and Stacie Dunlop, and strings from the incredible YAPCA school, our composer’s imagination has run wild! Scott has mixed in local and Toronto artists who play accordion, saxophones, trumpet, trombone, and harp – as he calls it, a dream band of over fifty live musicians!

Scott Good invites you to attend The Hands of Orlac – A Gothic Experience in this video clip https://www.facebook.com/share/r/17J1QPqK4h/

And the movie that’s on the screen at The Met? Movie buffs praise it as a psychological tour de force. Paul Orlac, a concert pianist, loses his hands in a dreadful train accident, but a clever surgeon replaces them with the hands of an executed murderer (Oh, how I wish Marty Feldman could have done the fetching.). Director Robert Wiene, after the success of his The Cabinet of Dr. Caligari (1920), created this masterpiece of “body horror” just waiting for London’s composer and musicians to make this silent film scream again.

Watch the Official DVD Trailer for The Hands of Orlac here https://youtu.be/6RwYXaTN_CY?si=9zOeaWaCLqbOWmr0

Underscoring – see, I did a “music” there – the actions are groundbreaking ideas familiar today. Body identity, medical transplant science, expressive and unsettling visuals that prefigure psychological thrillers on Netflix.

So, how could attending this cathartic experience on October 31st be perfect? Why not unleash your own creativity and bring a Goth element to the audience? You may be too old to go trick-or-treating, but why not trick yourself out to make the event totally immersive?

Remember the basic canon of Goth fashion –

  • BLACK is essential.
  • Layer on the textures- lace, leather, velvet
  • Chokers, heavy necklaces, an abundance of bats…yes, bats
  • Chains wherever you can tuck them.
  • Dramatic makeup – eyeliner, dark shadow, bold, deep lipstick
  • Hair that’s dyed or streaked, backcombed from roots to ends.

The Globe and Mail has described Scott Good’s music as having “a kind of majestic bestial reality.” When will you ever get a chance to be part of a really majestic and bestial concert experience like THIS, again?

If You Go:

What: Forest City Film Festival presents The Hands of Orlac – A Gothic Experience

When: Friday, October 31, at 8:30pm

Where: Metropolitan Church, 468 Wellington St, London, ON

Tickets: $35 – $80. https://fcff.ca/hands-of-orlac/?fbclid=IwY2xjawNu0JxleHRuA2FlbQIxMABicmlkETFWVU9ueXVOMXlIMXVUNFE1AR5vhjEdvgdoHLDhGaEb2MThzvf5qZn1nUDnkQZEpWYjhXpE5mq6A3-gkDXWDQ_aem_wFG3mBxB1pzcvLmreHV8tQ#buynow

For more information about London Symphonia, visit https://www.londonsymphonia.ca/

For more information about the Forest City Film Festival, visit https://fcff.ca/

Meet The Bohemians, London’s Newest Community Choir

by Richard Young

by Richard Young, Publisher & Content Manager of The Beat Magazine 2025

There’s a new community choir in town called The Bohemians, and it has a well-articulated mission.

“Our mission is to bring people of all ages together and through the joy of singing, create a welcoming, supportive, and non-competitive choir community that nurtures connection, learning, health, and happiness,” says Lesley Andrew, the choir’s Artistic Director and Conductor. “Our mandate is to perform at community fundraising events. All ages and vocal abilities.” 

The choir was formed by Lesley in response to Art Fidler’s call for acts to perform at the Groovin’ for Good London Food Bank fundraiser in September at the Palace Theatre. Consisting of Silver Spotlight Theatre and The Artful Players members, the choir performed Queen’s epic tune, Bohemian Rhapsody.

“At the request of various choir members, we have kept the group together,” says Lesley. “One member, Carol Wilks, thought of the name, and it stuck. It suits our repertoire and our musical philosophy. We have opened membership to include people of all ages. We are now an official choir.” 

Lesley brings some very impressive credentials to his position.

She performs everything from opera to jazz, oratorio to musical theatre, and has made soloist appearances with orchestras around the world.  An active performer, Lesley is also in much demand as a voice and drama instructor through her studios, Dream In Progress Productions. Her theatre/television credits include the Stratford Festival, Windsor Lite, Huron Country Playhouse, the Guelph Spring Festival, The Tonight Show, Oprah, Donny and Marie, and much more.

(Pictured: Lesley Andrew, Artistic Director and Conductor of The Bohemians.)

“Lesley is the heart of this choir. We are in the unique position to have a leader who is also a professionally trained singer, has been on world tours, and has her own records. It is a unique position for our choir, as we will have the opportunity to perform with Lesley and learn what it is like to sing with a professional,” says Dawn White, the choir’s President. “Members of the choir also have the opportunity to sing duets with Lesley, which will also be an amazing experience.”

“Beth Zuwala, our Assistant Director and Conductor, and media guru, is also an incredible talent who is highly trained with the voice of an angel, and she will also provide some great experience for choir members who want to sing with a partner during our concerts, if the occasion arises! The choir will then be provided with a myriad of experiences to learn from, and it will elevate our performances and fun, and allow us to sing a variety of music under Lesley and Elizabeth’s tutelage,” Dawn adds.

Currently, the choir has approximately thirty members, although a few have had to take a brief leave of absence until after Christmas, as they are in various theatre productions that are quite time and energy-demanding.  

“We are hoping to get entire families involved, “ says Lesley. “Our members range in age from twenty to eighty and come from all walks of life. For some, this is their first time singing in a choir, and others have much experience with community theatre and various choirs.”

The Bohemians’ repertoire is accessible and diverse and includes pop, show tunes, folk, and rock. Selections include Queen’s Bohemian Rhapsody, For Good from the show Wicked, The Climb, Let the River Run, and Fight Song.

“To date, even before we were an official choir, The Bohemians have performed three times publicly to rave reviews,” says Lesley. “We’d like to perform where fundraising is needed, or at community events needing entertainment. We’ll be performing a few ‘flash mobs’ as well and will be entering the Kiwanis Music Festival.” 

“We would like to consider The Bohemians as a welcoming group of musically-minded people, gathering to not only sing, but to socialize and meet new people. It’s also an awesome way to train your voice, as each rehearsal is like a group voice lesson,” adds Lesley. “Those interested in joining The Bohemians are always welcome.”

Contact bohemian.choir@gmail.com or message the choir on Facebook https://www.facebook.com/profile.php?id=61580064927636

“We will be connecting to my website (www.dreaminprogress.com) and will be posting regularly on our Facebook page,” Lesley says. 

The Jeffery Concerts Bring Jewels of Chamber Music to London for Another Season

by Richard Young

By Daina Janitis

Just so you know, I took notes at a recent London Health Coalition meeting on how to reach Gen Z to persuade them that privatization of Ontario health care will hurt THEM in the future. The guest speaker, Angie Cavallin, made several suggestions to us, aged relics on ZOOM screens who can’t even recognize when we’ve muted ourselves:

  • Use digital platforms they favour- TikTok, Instagram, Discord, and X.
  • Leverage relatable memes, short videos, and hashtag campaigns (???)
  • Frame messaging to create clear personal stakes.

SO, I watched TikTok for a few precious hours I’ll never get back … but don’t want to put this wrinkled mug on a video selfie. “Necessity is the MoFo”… you know … so imagine this:

Baby Boomer Daina and Gen Z Madison (#2 favourite name of the generation) talking about the Jeffery Concert at Metropolitan United on Sunday, October 19th, 2025, at 3:00 p.m.

Daina: Madison, are you going to the second Jeffery concert of this season on Sunday afternoon? It’s a unique chance for Londoners to hear world-class chamber music – and if you’re still a student, your ID gets you in free at the door!

Maddie: Jeffery? What’s he play? I’m lowkey interested …

Daina: No, Maddie. He’s dead.

Maddie: Bummer.

Daina: Gordon Jeffery was one of those amazing “characters” of London. A lawyer who joined the family firm, but his heart was in music. He practised law but played the organ at St. Peter’s Cathedral. In 1947, he bought an abandoned church in East London – Beecher United – and renovated it into a concert hall and teaching studios. He even had a Gabriel Kney organ installed there. He had an orchestra, a choir, and started a Music School.

Maddie: If I WAS interested, could I see it?

Daina: Sorry, no – an arsonist set fire to it in 1968. Jeffery bought the old Town Hall further east on Dundas, renovated it as well, and called it The Aeolian Hall. He also purchased and donated countless music scores to Western, Wilfred Laurier, and Windsor. He scoured Europe for string instruments, too, now part of the Music Instrument Bank at Western.

Maddie: So, what are these Jeffery Concerts if he’s dead?

Daina: Well, as tough as it may be to understand what a “benefactor” is these days, Gordon Jeffery left a whacking sum of money to some old friends when he died – with the directive that they work to bring fine chamber music to London for the benefit of its citizens.

Maddie:  Music for a small room?

Daina: Not really. Chamber music is a type of classical music designed for a small group of musicians—usually two to eight players—who each play unique parts. Because of its small size and close communication between players, chamber music is often called “the music of friends,” resembling a musical conversation where each instrument takes turns sharing and responding to ideas. This intimacy allows listeners to feel more connected to the performers and the music itself.

Maddie: I’m shook. And these friends did that in London for FREE?

Daina: That’s the mission of not-for-profit organizations – and the board of today’s Jeffery Music Foundation continues to create an annual series of world-class chamber concerts at very low prices – and free for students.

Maddie- So if I show up on October 19th … what am I going to see? – a classical concert. Yeet!

Daina: Well, this one is officially called “Accademia de Dissonanti and Elinor Frey, cello with Joseph Lanza, violin and Mélisande McNabney, harpsichord.”

Maddie: “Dissonan …”  Did you mean they don’t sound good together? Big Yikes!

Daina: Not at all. Their brilliant co-ordinator, Elinor Frey, decided to call her group that because of a historic connection: Accademia de’ Dissonanti refers to the learned society of the same name founded in Modena, Italy, in the early 1680s. Its meetings stimulated discussions on music, poetry, and other subjects connected to the d’Este family.

(Pictured: Elinor Frey)

Maddie: And this Frey lady? What’s her fire?

Daina: She’s a phenomenon! Or … she has RIZZ! She was born in Seattle but now makes Montreal her home base. She’s a cellist, does major research, and is a “gambist.” She’s performed all over America and Europe and received dozens of grants and prizes for her work- including a Fulbright. She’s got degrees from McGill, Mannes, and Juilliard.

And at THIS concert, she’s including a few beloved local guys – Joe Lanza on violin and Joe Phillips on double bass. Both are world-class musicians!

Maddie: But am I going to LIKE any of this Broke stuff? Any season from Vivaldi?

Daina: Yes- but no season. You’ll hear TWO concertos by Vivaldi – one in D Minor and the other in G Minor. The Big Viv taught music in Venice- and wrote those as delightful stuff for his students- full of in-jokes and amusements. There is also a harpsichord toccata- yes, the tinny piano – by JS Bach and a cello concerto by CPE.

(Pictured: Antonio Vivaldi, 1678–1741)

Maddie: And they’re not going to be boring?

Daina: How could CPE Bach be boring? That cello concerto … C.P.E. Bach’s Cello Concerto in A minor is a significant work characterized by its blend of Baroque and Classical styles, with an overall tone of emotional intensity and dramatic flair typical of the Sturm und Drang movement. It features a powerful, virtuosic first movement in 3/2 time, a deeply moving and introspective slow movement in C major (6/8 time) with a dramatic dialogue between solo and orchestra, and a finale that is a fast, energetic march. The concerto showcases the cello’s full range and expressive capabilities, with frequent shifts between turbulence and lyricism. Sorry … I got carried away …

Maddie: Touch grass, lady – I’m still not sure …

Daina: Hon, I’ll get back to what you are going to experience at The Met on Sunday – a close emotional relationship with amazing chamber musicians, some real stress relief. Some brain stimulation that is guaranteed to improve your memory, creativity, and problem-solving skills.

Just watch the musicians closely – they’re leading and following without a conductor and probably experimenting with phrasing, dynamics, and interpretation. They’re creating community- and during that concert, you’re part of it.

Maddie: SLAY – I’ll be there!

For more information about The Jeffery Concerts, visit https://www.jefferyconcerts.com/season2526/index.html

To purchase tickets for this concert, please contact the Grand Theatre online at https://tickets.grandtheatre.com/11649, by phone at 519-672-8800, or in person at 471 Richmond Street. Single tickets are also available at the door.

Students with a valid ID are welcome free of charge.

By Daina Janitis, The Beat Magazine 2025 Classical Music Writer

The Jeffery Concerts continue the 2025-26 season with a program of Baroque and Early Classical music, October 19, at the Metropolitan Church.

by Richard Young

Sensibilité: C. P. E. Bach and Vivaldi in the Age of “Emotional Hyperreactivity”
presented by Accademia de’ Dissonanti
Elinor Frey, cello and direction
Joseph Lanza, violin
Jessy Dubé, violin
Olivier Brault, viola
Eliana Zimmerman, cello
Joseph Phillips, contrabass
Mélisande McNabney, harpsichord

The royal courts of mid-eighteenth-century Berlin were lively crossroads for some of the greatest musicians of the time. The three cello concertos of C. P. E. Bach were composed in the early 1750s, likely for performance at one of the private academies or music societies that were popular in Berlin at the time. These tempestuous and dramatic concertos, replete with fragmented and blustery exchanges, bear witness to Bach’s vigorous imagination. A generation earlier, Antonio Vivaldi wrote highly imaginative concertos for strings at the Le Pietà conservatory in Venice. These surprising works are full of in-jokes and amusements to entertain his talented young students. In Vivaldi and Bach’s music, emotions are fleeting and instantaneous, and above all, the beauty of melody is emphasized.

The Accademia de’ Dissonanti, led by renowned cellist Elinor Frey, is an ensemble dedicated to exploring Baroque and early Classical repertoire. Under Frey’s leadership, they will bring an expressive and historically informed approach to their performance of the music of Vivaldi and C.P.E. Bach.

(Pictured: Elinor Frey, artistic director, cello, viola da gamba, viola d’arco)

PROGRAM
Antonio Vivaldi (1678 – 1741) – Concerto for Strings in G Minor, RV 152
Allegro molto – Andante molto e sempre pianissimo tutti – Allegro molto
J. S. Bach (1685 – 1750) – Harpsichord Toccata in D Major, BWV 912 
C. P. E. Bach (1714 – 1788) – Cello Concerto in B-flat Major, Wq 171
Allegretto – Adagio (Cadenza) – Allegro assai
Intermission 
Antonio Vivaldi – Concerto for Strings in D Minor, RV 127
Allegro – Largo – Allegro
C. P. E. Bach – Cello Concerto in A Minor, Wq 170
Allegro assai (cadenza) – Andante (cadenza) – Allegro assai

If You Go:

What: The Jeffery Concerts presents Sensibilité: C. P. E. Bach and Vivaldi in the Age of “Emotional Hyperreactivity”

Who: Accademia de’ Dissonanti

When: Sunday, October 19, 2025, at 3:00 pm.

Where: Metropolitan United Church, 468 Wellington Street, London, ON

Tickets: To purchase tickets for this concert, please contact the Grand Theatre online at https://tickets.grandtheatre.com/11649, by phone at 519-672-8800, or in person at 471 Richmond Street. Single tickets are also available at the door.

Students with a valid ID are welcome free of charge.

For more information about The Jeffery Concerts, visit https://www.jefferyconcerts.com/season2526/index.html

Follow The Jeffery Concerts on Facebook https://www.facebook.com/thejefferyconcerts

To learn more about Accademia de’ Dissonanti, visit https://www.accademiadedissonanti.com/

Daina Janitis Reflects On London Symphonia’s Opening Night: Mozart, Ravel, and Beyond.

by Richard Young

by Daina Janitis

So, I warned you in my Bio, didn’t I – I’m not an academic musician – English Lang and Lit graduate – and I’m doddering past 80 years of age. And reviews of concerts seem sort of pointless to me. If you were there, you know what it sounded like- and if you weren’t, you don’t need any shade of schadenfreude thrown at you for having missed a unique experience (although I have high praise for the crew that videotapes the London Symphonia concerts-the experience is worth trying). So, “The Husband” and I huffed up the stairs to the balcony and positioned ourselves where we could see David Jalbert’s hands on the keyboard – all of us “Displaced Persons” kids took piano lessons when our families were let into Canada… we know where to sit.

Yes, the music was spectacular – but it was only part of the experience. With London Symphonia concerts at “The Met,” you get something unique on the concert evening- something that deserves thanks and acknowledgement, while empathy, respect for diversity, and liberal education are becoming crimes and vices in the elephantine country south of us.

You know those rooms set aside for “Big Givers” in theatres and performance halls where they can get a free glass of musty Chardonnay and schmooze with others of that generosity level? AT OUR Met, the London Symphonia musicians, guest artists, and the conductor are ready to chat with you and to answer any dumb question you might have.

After Saturday night’s concert, I was able to hug Ted and Renee of Serenata Music and thank them for their generosity in helping the Symphonia bring to London someone like Jalbert. I walked over to a gaggle of Western Music students who were still jumping up and down with the excitement of the music. I cornered two of them – a toque and hockey shirt on one, a BIG waxed mustache and sleeveless tee (no sombrero) on the other – to thank them for making the concert even better with their presence. I also told them I was grateful for being in Canada together- were we in Chicago or Memphis, ICE agents might have seized them both at the exit. I could tell Ben the Cello that, should I ever become deaf, I could enjoy concerts fully just by watching his face. And I could hug Cosette the Conductor, telling her how much I loved Kooba (I know, after showing the other half of my Spanish- “Ola!”). “The Husband” had to get all expert, shaking her hand and thanking her for “a wonderful master class in orchestral conducting.”

(Pictured: Cosette Justo Valdés. Photo Credit: Lia Crowe)

And the music – a totally shared experience, no matter what your level of “expertise.” Cosette the Conductor, dressed in traditional black, led the audience in singing along with “O Canada.” She had brought to the program two pieces by Cuban composers – and in the second, after she explained its inspiration – the double-bench horse-drawn carts in Cuba that haul farmers, water, crops, and appliances – every clack of Tim Fancom’s percussion brought that musical scene to life. And although Cosette said that “Canada is my home” after six years, those unmistakable Cuan dance moves enhanced her conducting of the piece.

(Pictured: David Jalbert. Photo Credit: Julien Faugère)

And David Jalbert’s performance of Ravel’s Concerto in G major? It left the audience breathless – not only for Jalbert’s genius and technical skill, but through, I believe, the musical “community” Ravel’s writing for orchestra and piano creates in the three-movement piece. The first begins with Jalbert’s hands posed in a criss-cross on the keys while a jazzy chorus of clarinet, trumpet, bassoon, and trombone joins him in some sensuous music- and that harp suddenly adds brushstrokes of mystery. Don’t even ASK about how perfect his rapid trills were! The second movement assured us that Jalbert can handle anything – a solo piano beginning that eventually is joined by the English horn and the other instruments in rising tension. And the final presto movement did what a French composer, Louis Fleury, said it should do: be “an unstoppable onslaught, spurred on by the shrieks of the clarinet and the piccolo, the donkey brays of the trombone and occasional fanfare flourishes in the brass.” How that wonderful Canadian pianist had the energy to play a Prokofiev rumble of pure delight as an encore – we OWE him!

(Wolfgang Amadeus Mozart, 27 January 1756 – 5 December 1791)

Do you want to know about the Mozart Symphony #39 in E-flat Major? Brace yourself for more stories of musical heroes. Wolfgang died at the age of 35, and within two months of his final years, composed THREE symphonies- 39, 40, and 41. Number 39 was the introduction, so to speak, that culminates in his “Jupiter” (#41). But Wolfie- no oboes??? The London Symphonia clarinets took the limelight in the bold and heroic first movement. In the second, third, and fourth movements, the 18th-century composition took us through dialogues of instruments in our city’s brilliant small orchestra, ending in something that’s been called “the 18th-century equivalent of a hoedown”.

If you couldn’t make it- and are curious about how all of that anticipation and joy can be in one symphony – DO invest in the London Symphony “Video on Demand” concert purchase on their website. If you’re as cheap as I am, here’s a freebie from Frankfurt:

Okay for now, but don’t you dare miss the full experience of “Payadora” on November 15, 2025, in the London Symphonia 2025-2026 series.

For more information about London Symphonia and the 2025-2026 Season, visit https://www.londonsymphonia.ca/

Reviewed by Daina Janitis, The Beat Magazine 2025 Classical Music Writer