Apollo's Fire (Cleveland Baroque)
Choeur St. Laurent
Clavecin en concert
Colours of Music Festival
Continuum Contemporary Music
Early Music Vancouver
Festival Baroque Montreal
Festival of the Sound
Guelph Chamber Choir
I Musici de Montreal
Jeunesses Musicales du Canada
L'Opera de Montreal
L'Opera de Quebec
National Arts Centre Orchestra
Niagara Symphony Orchestra
Opera in Concert
Orchestre symphonique de Laval
Orchestre symphonique de Montreal
Opera Lyra Ottawa
Ottawa Choral Society
Pacific Opera Victoria
Palm Beach Opera
Queen of Puddings Music Theatre
Studio de musique ancienne de Montreal
Symphony New Brunswick
Symphony Nova Scotia
Tapestry New Opera Works
Thunder Bay Symphony
Toronto Masque Theatre
Vancouver Bach Choir
Westben Concerts at the Barn
Here we are in 2015, refreshed from holidays and ready for new musical projects and adventures.
I am delighted to welcome Canadian bass-baritone Daniel Lichti to the roster. I had the great pleasure to sing with Daniel on several occasions, and am thrilled to represent this distinguished artist.
Daniel was recently invited to give masterclasses to voice students at Taipei University of the Arts. I caught up with him between rehearsals as Simone in Gianni Schicchi at Wilfrid Laurier University and asked a few questions about his career. Daniel has won great acclaim singing Elijah, Brahms Requiem, Messiah and of course, all of the major oratorios of Bach. Here is Daniel singing Quia fecit from the Magnificat. Listen Now
Looking ahead, rehearsals are underway for Leslie Dala, conducting Edmonton Opera’s new production of Mozart’s beloved The Magic Flute. Giles Tomkins is in balmy British Columbia, debuting the role of Raimondo in Lucia di Lammermoor with Pacific Opera Victoria. Virginia Hatfield and Maria Soulis present a duo recital called “Sisters in Song”in Toronto.
Daniel Cabena returns from a recording project in Basel, Switzerland to perform “In Paradisium”, a concert of German early Baroque cantatas with Toronto’s Scaramella, then heads to Calgary to perform in Christos Hatzis’ Everlasting Light with Spiritus Chamber Choir.
In the Great White North of Chicoutimi, Quebec, Maude Brunet and Dion Mazerolle are in rehearsals for Chabrier’s L’Etoile, and Francois Racine directs this same opera at Universite de Montreal, with performances in February.
Stay warm, and stay tuned for exciting announcements for upcoming performances, as companies finalize their plans for future seasons!
Follow our roster news with Director's Notes, where the spotlight is on the Stars of Domoney Artists Management. Here you will find special features on this wonderful group of Classical Singers, Orchestral and Opera Conductors and Stage Directors. Read about their passions, hobbies, dream opera roles and more.
Also be sure to connect with all of us at Domoney Artists via Twitter and Facebook!
ON STAGE NOW
News from the
Jan 1 Adam Fisher rang in 2015 with "A Viennese New Year", with soprano Leslie Anne Bradley and the Victoria Symphony; Alain Trudel, Conductor www.pov.bc.ca
Jan 16 & 17
Countertenor Scott Belluz debuts with Kitchener Waterloo Symphony in Mendelssohn's Midsummer Night's Dream; Edwin Outwater, Conductor www.kwsymphony.ca
Feb 6 – 8 Maude Brunet stars as Lazuli, Dion Mazerolle is Herisson in Chabrier's charming opera L'Etoile with Societe d'art Lyrique de Royaume, Chicoutimi; Jean-Philippe Tremblay, Conductor www.salr.ca
Feb 8 @ 7:30pm Daniel Cabena sings "Northern Lights" featuring Christos Hatzis's Everlasting Light for soloists, choir, marimba and crystal glasses.with the Spiritus Chamber Choir at the Rosza Centre, University of Calgary; Timothy Shantz, Artistic Director www.spirituschamberchoir.ca
Mar 8 Daniel Cabena sings "Northern Lights" featuring Christos Hatzis's Everlasting Light for soloists, choir, marimba and crystal glasses.with the Spiritus Chamber Choir at All Saint’s Anglican Cathedral in Edmonton, Alberta www.spirituschamberchoir.ca
"Sean Clark... created something rather special in an Ottavio who never seems to be taken quite seriously either by his police colleagues or Anna and who seems completely perplexed when she dumps him at the end."
"Francois Racine, warmly remembered for his sparkling treatment of Die Fledermaus, mounted the current staging, which did not disappoint. He mined his singers’ acting skills successfully, making the spoken dialogue and the stage action he devised for them fully credible."
Irène Brisson, Opera Canada
Maude and Dion, in the Great White North, Chicoutimi – where temperatures hover around -26!
JOINING THE ROSTER
Since his operatic debut at the 1974 Stratford Festival, Daniel Lichti has established himself as one of Canada’s finest bass-baritones, performing with many of North America’s premiere orchestras (both modern and baroque) and leading choral organizations. He is a frequent guest at major choral festivals and has performed internationally as a soloist in oratorio and opera, working under conductors such as Robert Shaw, Helmuth Rilling, Christopher Hogwood, John Nelson, Bruno Weil, Bernard Labadie, and Yannick Nézet-Séguin. Daniel has gained acclaim as a recitalist and recording artist and last year celebrated 40 years of professional life with concerts in Canada, the United States, Europe, and Asia. His artistry continues to inspire admiration for the beauty, warmth, and richness of his voice, and respect for the dignity and sincerity of his interpretations.
“Lichti, singing more eloquently than I have ever heard him, filled his Elijah with conviction, passion and tenderness, pathos and power. His great aria It is enough was heartbreaking.”
– Ken Winter, The Globe and Mail
You recently celebrated 40 years as a professional singer, can you tell us about a highlight and perhaps an “Oh no!” moment?
A highlight for me was the adventure that gave me my first big exposure as a young Canadian singer after having returned from studies in Germany. I got a mid-afternoon telephone call from Raffi Armenian, conductor of the Kitchener-Waterloo Symphony Orchestra, asking me if I knew the Brahms' Requiem, to which I replied that I did. He then asked if I had ever performed it, and I said that I hadn't, but that I knew it well.
This wasn't enough for Raffi who then asked me to drop by his office and had me sing the Baritone solos for him. Then he introduced me to Helmuth Rilling, the German conductor who was in Canada for the Ontario Choirs in Contact event in Waterloo that weekend, and had an indisposed baritone on his hands. The next morning I had a Dress rehearsal with the assembled choral singers and the orchestra and in the afternoon went live to air for a CBC national broadcast of the Requiem. That led to many more concerts with Rilling and wonderful exposure for a relatively unknown young baritone.
An "Oh no!" moment occurred in the late '80s. At that time I was still combining farming with singing, and was leaving for Toronto from New Hamburg around 5pm. on a very snowy Friday afternoon for the first of a series of Messiah’s with Tafelmusik. As I bypassed Kitchener heading for the 401 to Toronto, with the snow getting heavier and heavier every minute, I suddenly realized that I had left my tails hanging on the back of the door at home. A quick time calculation (because I had left extra early) gave me the assurance that I could still turn around, retrieve the tails and get to Toronto with about half an hour to spare. Remember this was long before cell phones, so quick communication wasn't possible! There was nothing to do but to go for it. So, when I got back to the farm, I discovered that attentive eyes had taken in the situation, and my tails were on their way to Toronto in another vehicle. In seconds I was back into the car to Toronto. I arrived at Trinity-St. Pauls with 20 minutes to spare, and that day's guardian angel had also delivered the tails just ahead of my arrival, so the day was saved... not without some anxiety.
As we are in the middle of winter, perhaps you could share a bit about your love of Schubert’s Winterreise, which you have performed so often. Why this repertoire, and what do you love about lieder?
A live performance I heard as a student made a huge impression on me. For me there is no more rewarding experience as a singer than the privilege of sharing the rehearsal process and the performance of such a great work with an equal partner on the piano. I've had several partners over the years, and each collaboration introduces unique aspects to the process and the ultimate recital. Winterriese never becomes old, just richer. The intimacy of the art form is what really appeals to me. I'm inspired by my musical partner, and by the audience's response. Entering into a performance of Winterreise is really about entering another world, perhaps very familiar, yet never being certain of what you might discover about the music, or yourself.
“One of the strengths of this new version is how well Lichti captures the mental instability and frustration of the dejected lover. It’s always moving and sometimes gripping in its intensity… this is a sincere labor of love, full of life, intelligence and attention to text.” – Rick Philipps, Opera Canada review of Winterreise recording for Analekta
As an Associate Professor of Voice for the Faculty of Music at Wilfrid Laurier University, you recently travelled to Taiwan to present Masterclasses at the Taipei National University for the Arts, and have travelled extensively to teach young singers. What do you work on in these situations, what do you see lacking/promising in today’s emerging singers?
It's always interesting to hear young voices, and to briefly get to know young singers who demonstrate a passion for singing. It's also intriguing to experience this in an international context. Most masterclass settings only offer a brief period of interaction, and knowing that any influence I might have is really short-term, I might comment on purely musical or stylistic issues, but mostly I try to encourage the singer's own imagination to open up new possibilities interpretively.
Technology makes so many more resources available to today's students, and perhaps some are overwhelmed by it all. The world is changing so quickly... and figuring out what might always stay the same and how to function within a shifting context might be the biggest challenge facing them.
Perhaps more than ever, an enduring passion for singing, curiosity, and single-minded commitment are required of the student intent on living the life of a singer.
There are many musical families in history – Mozart, Haydn, and Mendelssohn. Which Domoney Artist has a musical sibling?
Watch for the answer in next month's Director's Notes!
LAST MONTH'S ANSWER
Our New Year announcement is that Daniel Lichti has joined Domoney Artists!
ABOUT DOMONEY ARTISTS
As Director of Domoney Artists Management, Kathy Domoney brings her wealth of knowledge and experience to this position after more than 20 years as a lyric soprano.
Established in 2008, Domoney Artists Management proudly presents their 2014-15 roster of Classical Singers, Orchestral and Opera Conductors, and Stage Directors to audiences throughout Canada and beyond. It is a great pleasure to announce that acclaimed Bass-baritone Daniel Lichti now joins this prestigious roster of established and emerging artists.