IN PARTNERSHIP WITH
SEASON PRESENTING SPONSOR
SEASON PATRON
IN HONOUR OF H. THOMAS BECK
JANUARY 18 & 20, 2017TELUS CENTRE FOR PERFORMANCE AND LEARNING, KOERNER HALL
MozartFestival@261
CO-CURATED BY BERNARD LABADIE & PETER OUNDJIAN
BOARD OF DIRECTORSCatherine Beck, Chair
Rags Davloor, Vice-Chair & Treasurer
Eileen Jurczak, MBA, CFA, Secretary
Pat Baker
Joanne Colbourne, TSVC Co-President
Robert W. Corcoran
Sharon Groom
Councillor Norm Kelly
Vahan Kololian
Noelle Richardson
Luke Seabrook
Brian Shaw
Tom Smee
Debra Walker, TSVC Co-President
TORONTO SYMPHONY FOUNDATION TRUSTEESLawrence A. Ward, FCPA, FCA, Chair
Richard Balfour
Thomas Bogart
Ira Gluskin
Noelle Grace
Thomas C. MacMillan
Sheila Murray
John Nagel
John Sherrington
MAESTRO’S CLUB AMBASSADORSDavid G. Hallman, Chair
Judy Dunn, Vice-Chair
Olga Fershaloff
Michael Gnat
Donna Goldman
Bryan Graham
Maymar Naman
YOUNG LEADERSHIP COUNCILDustin Cohen, Co-Chair
Danielle Ryterband, Co-Chair
James Bertrand, Communications Chair
Tricia Black
Natalie D’Aoust
Nicole D’Aoust
Scott Darling
Theodora Ferrant
Jesse Goldman
Adrian Ishak, Nominations Chair
Robert Karrass, Philanthropy Chair
Lawrence Kim, Impresarios Club Chair
Andrew Kwong
Pippa Leslie
Jelena Rakovac
Rachel Spiar
Brocke Weir, Secretary
HONORARY MUSICIANS
These extraordinary individuals have been selected by the Orchestra for their extraordinary commitment and service to the TSO.
Tom Beck
Renette Berman
Robert Corcoran
Sheryl L. Kerr
Judith (Billie) R. Wilder
Peter Oundjian, Music DirectorCatherine Beck, Chair | Gary Hanson, Interim Chief Executive Officer
TORONTO SYMPHONY ORCHESTRA
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ORCHESTRA MEMBERS
Peter Oundjian MUSIC DIRECTOR
Sir Andrew Davis CONDUCTOR LAUREATE
Steven Reineke PRINCIPAL POPS CONDUCTOR
Earl LeeRBC RESIDENT CONDUCTOR & TSYO CONDUCTOR
Gary Kulesha COMPOSER ADVISOR
Jordan PalRBC AFFILIATE COMPOSER
ViolinsJonathan CrowCONCERTMASTER
TOM BECK CONCERTMASTER CHAIR
Mark SkazinetskyASSOCIATE CONCERTMASTER
Marc-André SavoieASSISTANT CONCERTMASTER
Etsuko KimuraASSISTANT CONCERTMASTER
Paul MeyerPRINCIPAL,
SECOND VIOLIN
Wendy Rose*ASSOCIATE PRINCIPAL,
SECOND VIOLIN
Eri KosakaASSISTANT PRINCIPAL,
SECOND VIOLIN
Atis Bankas*Sydney ChunCarol Lynn FujinoAmanda GoodburnTerry HolowachBridget HuntAmalia Joanou-CanzoneriMi Hyon KimShane KimLeslie Dawn KnowlesSergei NikonovHyung-Sun PaikYoung Dae ParkSemyon PertsovskyPeter SeminovsJennifer ThompsonAngelique ToewsJames WallenbergVirginia Chen WellsArkady Yanivker
ViolasTeng LiPRINCIPAL
PRINCIPAL VIOLA
FUNDED BY DAVID AND
RENETTE BERMAN
Eric Nowlin+
ASSOCIATE PRINCIPAL
Theresa RudolphASSISTANT PRINCIPAL
Daniel BlackmanIvan IvanovichGary LabovitzDiane LeungCharmain LouisMary Carol NugentChristopher RedfieldKent Teeple
CellosJoseph JohnsonPRINCIPAL
PRINCIPAL CELLO CHAIR
FUNDED BY
DR. ARMAND HAMMER
Emmanuelle Beaulieu Bergeron
ASSOCIATE PRINCIPAL
Winona ZelenkaASSISTANT PRINCIPAL
Igor GefterMarie GelinasRoberta JanzenBritton Riley Kirk Worthington
Double BassesJeffrey BeecherPRINCIPAL
PRINCIPAL DOUBLE BASS
CHAIR ANNUALLY FUNDED BY
THE SAUNDERSON FAMILY
Theodore ChanTimothy DawsonChas ElliottDavid LongeneckerPaul Rogers
FlutesNora ShulmanPRINCIPAL
TORONTO SYMPHONY
VOLUNTEER COMMITTEE
PRINCIPAL FLUTE CHAIR
Julie RantiASSOCIATE PRINCIPAL
Leonie WallCamille Watts
PiccoloCamille Watts
OboesSarah JeffreyPRINCIPAL
PRINCIPAL OBOE
FUNDED BY PAM AND
CHRIS HODGSON
Keith AtkinsonASSOCIATE PRINCIPAL
Cary EbliSarah Lewis
English HornCary Ebli
ClarinetsJoaquin ValdepeñasPRINCIPAL
SHERYL L. AND
DAVID W. KERR PRINCIPAL
CLARINET CHAIR
Yao Guang Zhai+
ASSOCIATE PRINCIPAL
Joseph OrlowskiAmy Zoloto+
E-flat ClarinetYao Guang Zhai+
Bass ClarinetAmy Zoloto+
BassoonsMichael SweeneyPRINCIPAL
Samuel BanksFraser Jackson
ContrabassoonFraser Jackson
HornsNeil DelandPRINCIPAL
DR. MICHAEL BRAUDO
PRINCIPAL HORN CHAIR
Christopher GongosASSOCIATE PRINCIPAL
Audrey GoodNicholas HartmanGabriel Radford
TrumpetsAndrew McCandlessPRINCIPAL
TORONTO SYMPHONY
VOLUNTEER COMMITTEE
PRINCIPAL TRUMPET CHAIR
Steven WoomertASSOCIATE PRINCIPAL
James GardinerJames Spragg
TrombonesGordon WolfePRINCIPAL
Vanessa FralickASSOCIATE PRINCIPAL
Bass TromboneJeffrey Hall
TubaMark TetreaultPRINCIPAL
TimpaniDavid KentPRINCIPAL
PercussionJohn RudolphPRINCIPAL
Patricia Krueger
HarpHeidi Van Hoesen GortonPRINCIPAL
PRINCIPAL HARP FUNDED
BY RICHARD ROONEY AND
LAURA DINNER
KeyboardPatricia KruegerPRINCIPAL
PRINCIPAL KEYBOARD
FUNDED BY HANS AND
SUSAN BRENNINKMEYER
LibrariansGary Corrin PRINCIPAL
PRINCIPAL LIBRARIAN FUNDED BY BOB AND ANN CORCORANKim Gilmore
PersonnelDavid KentMANAGER
*On sabbatical+On leave
Happy New Year! And welcome to 2017—Canada’s 150th
(sesquicentennial) year. 2017 will be an extraordinary year
for Canada and for the TSO. The weeks ahead promise
exciting music, new and familiar guest artists, alongside our
wonderful Orchestra and under the direction of our much-
loved Music Director, Peter Oundjian.
The TSO is devoted to creating musical performances that
nourish our hearts and explore the artistry and power of
classical music. We love sharing this journey of creativity with our audiences here in
Toronto. And in 2017, we have the opportunity to share the musical excellence of the TSO with the world.
From May 7 to 22, the TSO will embark on a historic tour of Israel and Europe. The TSO’s
2017 tour will be happening in a year when Canada is celebrating the country’s 150th
anniversary. During this special year, the TSO is honoured to be touring internationally,
acting as a global ambassador for Toronto and the country.
With performances in Tel Aviv and Jerusalem, the first leg of the tour will mark the TSO’s
first performances in Israel. The second leg of the tour will include performances in four
vibrant artistic centres: Vienna, Regensburg, Essen, and Prague. Only the best orchestras
in the world are invited to perform at these prestigious venues.
Representing Toronto on the world stage is a high privilege for the TSO. We owe a debt of
gratitude to the generous donors and sponsors who are funding the 2017 Tour alongside
their support for our core programming. And we invite you, our loyal friends, to consider
your own investment in support of the TSO. Please be counted among the many who
ensure the success of this great orchestra through your participation in the tour and
financial support of it. Please contact Marion York at [email protected] or call 416.593.7769
X 292 if you are interested in touring with the TSO or supporting this historic initiative.
Gary Hanson
Interim Chief Executive Officer
TSO 2017 TOUR OF ISRAEL & EUROPEMay 11, 2017Sherover Theatre, Jerusalem, Israel
May 13, 2017Charles Bronfman Auditorium,
Tel Aviv, Israel
May 16, 2017Konzerthaus, Vienna, Austria
May 17, 2017Audimax der Universtät Regensburg,
Regensburg, Germany
May 19 & 20, 2017Smetana Hall, Prague, Czech Republic
May 21, 2017Philharmonie Opernplatz, Essen, Germany
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News about your TSO, in and beyond the concert hall.
THE TSO TO TOUR ISRAEL AND EUROPE Over the course of this four-
country, seven-concert tour,
distinguished Israeli-Russian
violinist Maxim Vengerov,
celebrated Canadian pianist Jan
Lisiecki, and dazzling Canadian
soprano Carla Huhtanen will
join the Orchestra as featured
soloists. The repertoire will include
Brahms’s Violin Concerto (featuring
Vengerov), Schumann’s Piano
Concerto (featuring Lisiecki),
Boulez’s Le soleil des eaux
(featuring Huhtanen), as well as
Bartók’s Concerto for Orchestra,
Rimsky-Korsakov’s Sheherazade
(featuring TSO Concertmaster
Jonathan Crow), and Dvořák’s
Symphony No. 7. The TSO will also
perform On the Double by RBC
Affiliate Composer Jordan Pal as
well as other works. Performances
in Prague will be dedicated to
former TSO Music Director Karel
Ančerl. Born in Czechoslovakia,
Ančerl led the TSO from 1969
to 1973.
City of Toronto Mayor John Tory
commented, “By visiting Israel and
Europe, the Toronto Symphony
Orchestra will showcase the talent
and spirit that makes Toronto a
must-see cultural destination and
an artistic hotspot. The TSO is
one of Toronto’s most important
cultural assets, and I have no doubt
they will make us proud on the
world stage and will encourage
more people to visit our city.”•
A DAY IN THE LIFE OF…
Mark SkazinetskyTSO Associate Concertmaster
7:15am: The first thing I do when I wake up is stretch—
mostly my upper body. I read my morning paper over
breakfast: homemade cottage cheese and jam (both made
by my wife) on organic dark toast, and the mandatory
double espresso.
10:00am: Today we rehearse for the Mozart@261 Festival.
I love playing Mozart. A genius composer, his music is
clear, beautiful, and universal. Everybody relates to Mozart;
no musical background required!
Mozart’s music—from a violinist’s perspective, especially—
is like European architecture: there’s great clarity in
the structure, but it’s the ornamentation that makes it
exquisite. Mozart was also a great opera composer; even
his instrumental works are full of imagery. Through his
colourful music, one can easily picture action, drama,
even. He was a master storyteller.
2:00pm: After a quick lunch, I manage to squeeze in two
violin lessons. I enjoy teaching, and am grateful for my
U of T students’ willingness to accommodate my busy
schedule!
6:45pm: After a short rest and a light dinner at home, I
arrive at Koerner Hall for the first concert of the Mozart
Festival. I always arrive early for a performance. I need
time to focus, warm up, and make sure I’m in a positive
frame of mind before I walk onto the stage. Did I mention
I love Mozart? I always look forward to this festival. I’m also
excited to work again with Bernard Labadie—a fantastic
conductor, and a renowned Mozart specialist.
11:30pm: I’m home, relaxing and enjoying a glass of wine
with my wife. Tomorrow, more Mozart! •
TSO SCENE
MOZART PRAGUE SYMPHONY
Portrait of W.A. Mozart, c. 1770s
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CONCERT PROGRAM
Peter OundjianMusic Director
Wolfgang Amadeus Mozart
Overture to Lucio Silla, K. 135
Violin Concerto No. 3 in G Major, K. 216I. Allegro
II. Adagio
III. Rondo: Allegro
Intermission
Violin Concerto No. 1 in B-flat Major, K. 207I. Allegro moderato
II. Adagio
III. Presto
Symphony No. 38 in D Major, K. 504 “Prague”I. Adagio – Allegro
II. Andante
III. Finale: Presto
Wednesday, January 18, 2017
8:00pm
Friday, January 20, 2017
7:30pm
Bernard Labadieconductor
Isabelle Faustviolin
Festival co-curator Bernard Labadie leads this final concert of this year’s Mozart celebration, featuring Isabelle Faust as violin soloist. The Overture to Lucio Silla is yet another one of those startling works written by Mozart when he was very young. There is a confidence in this sparkling music that clearly points the way to his later accomplishments. In the following years, he composed these two violin concertos. Hearing them side by side, it is possible to hear how rapidly he was developing. The First Concerto is a joyful work, filled with youthful enthusiasm and energy. By the Third Concerto, a slightly more serious tone has crept into the writing. The violin part is less deliberately showy, and the orchestration is somewhat more restrained. The final work on the program is the great “Prague” Symphony, written at the very peak of the composer’s abilities. This is the symphony just before the final great trilogy, and it shows much of the same genius as those masterworks.
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THE DETAILS
The supremely precocious Mozart was just
eleven when he was commissioned to compose
his first opera—or at least part of one: the first
act of a three-act, German-language singspiel
called Die Schuldigkeit des ersten Gebots (The
Obligation of the First Commandment).
Over the next six years, Mozart composed six
additional operas, all of them complete. Several
of them resulted from commissions received
during trips to Italy, such as Mitridate, Rè di Ponto
(1770), and Ascanio in Alba (1771). During a visit
to Milan, he received a commission for another
opera, to be premièred during the 1772 carnival
season. This was an extremely prestigious
commission. Mozart and his father Leopold
hoped that it would lead to Wolfgang’s securing
a permanent position in that city, one that would
display greater appreciation of his gifts than the
demeaning one he occupied in Salzburg. This,
alas, was not to be.
The libretto of the latest opera, the three-act
drama Lucio Silla, was written by the official
poet to the Milan Opera, Giovanni de Gamerra.
The opera premièred on December 26, 1772. It
won such success that it received an additional
twenty-five performances during that same
season, all of them to full houses. Subsequent
productions have been rare, due largely to the
weakness of Gamerra’s libretto. Nevertheless,
the opera represented clear progress over
its predecessors along Mozart’s path toward
mastery of opera.
The action takes place in Rome during the
first century BC and revolves around the title
character, a soldier and imperial dictator, known
in English as Lucius Sulla. He led wars on
behalf of Rome on several fronts, only to find it
necessary to march his army against his home
city in order to defeat his political opponents.
The opera’s libretto glossed over these
monumental events and replaced them with a
standard-issue love story.
Mozart introduced the opera with a suitably
grand overture whose orchestration includes
trumpets and timpani. He cast it in the fast-
slow-fast layout that was, at that time, the most
common form both for operatic overtures and
concert symphonies.
Program note by Don Anderson
Wolfgang Amadeus MozartBorn: Salzburg, Austria, Jan 27, 1756 Died: Vienna, Austria, Dec 5, 1791
9min
Overture to Lucio Silla, K. 135Composed: 1772
The opera is happily launched, although
on the first night various very distressing
incidents took place. The first problem
was that the opera...started three hours
after the Angelus, that is, about eight
o’clock German time and it went on until
two hours after midnight. [...] The anxious
singers, the orchestra, and the entire
public, many of them standing, had to wait
three hours, impatiently in the overheated
atmosphere, for the opera to begin.
—Leopold Mozart’s account of the
première of Lucio Silla, January 2, 1773
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When Mozart composed four of his five violin
concertos at the age of nineteen, in a single
burst of creativity between April and December
of 1775, he was obviously having a love affair
with the instrument, for which he wrote with
uncommon insight. Ill-disposed toward self-
aggrandizing virtuosity, he singled out a beautiful
singing tone as the highest achievement of
a violinist; he was giving himself the ultimate
compliment when he said, in October 1777, after
a performance of his Violin Concerto No. 3 in
G Major, K. 216, that it “went like oil. Everyone
praised my beautiful, pure tone.”
K. 216, one of Mozart’s own favourite pieces,
is a locus classicus of the Arcadian serenade
style of Mozart’s later Salzburg works. In it he
made explicit the connection between violin
concerto and serenade: he borrowed the
opening theme of the first movement from
the shepherd-king Aminta’s noble aria “Aer
tranquillo e dì sereni” from Act I of Il rè pastore,
a “serenata”—a short pastoral opera—that he had
composed in Salzburg in April of 1775, the very
month in which he began writing the four violin
concertos. The aria speaks of “tranquil air and
serene days,” “fresh springs and green fields,” and
Mozart translated this mood of idyllic pastorale
into instrumental terms, transforming the violin
concerto from a pleasant entertainment into
a more poetic form of expression. There is a
new world of sonority and sentiment in the
dreamy, operatic Adagio, too. Mozart calls for
flutes here, and writes delicate melodic fioratura
for the violin supported by a serenade-like
accompaniment of murmuring muted strings
and pizzicato basses.
The jig-like Allegro finale unfolds as a perfectly
conventional rondo, but just where we would
expect the form to draw to a close, Mozart
interpolates two delightful episodes. The
first is a galant French gavotte in G minor
(Andante), with dainty trills and a light, pizzicato
accompaniment. The second interpolated
episode is a jolly contredanse in G major
(Allegretto), based on a popular tune of the
day known as the “Strassburger”. Having thus
indulged himself, to comic effect, Mozart brings
back the jig, resolves the original rondo, and
allows the concerto to close quietly, with a little
curtsey from the oboes and horns.
Program note by Kevin Bazzana
24min
Violin Concerto No. 3 in G Major, K. 216Composed: 1775
MOZART, THE VIOLINISTMozart was, of course, one of the great
pianists of his day, but he also had, briefly,
a flourishing career as a violinist. He played
as a child, and in November of 1769, just
thirteen, he became concertmaster of
the court orchestra of the Archbishop of
Salzburg. He was modest about his gifts
as a violinist, but his playing was widely
admired by audiences and fellow violinists,
one of whom remarked that Mozart could
“play anything” on the instrument.
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THE DETAILS
Mozart, the greatest of all child prodigies in music,
received from his father Leopold a thorough
education in composition and performance, the
latter including piano, harpsichord, and violin. In
his maturity he focused his performing skills on
the piano. The young Wolfgang appeared most
often as a soloist on the violin, beginning with the
concert tours his family made during the 1760s.
His father once wrote to him that, “You yourself do
not know how well you play the violin…when you
play with energy and with your whole heart and
soul, yes indeed, it’s just as though you were the
finest violinist in all of Europe.” This was no small
compliment, coming from a renowned authority
on the instrument. He published his widely used
violin method in the year of Wolfgang’s birth.
Wolfgang also became a viola player of fully
professional skill. During his later years in Vienna,
the viola was the instrument he usually played in
a string quartet. It was in just such a situation that
he met Joseph Haydn, with whom he developed
a deep and mutually inspiring friendship.
In 1769, he was awarded the post of Honorary
Concertmaster in the Salzburg Court Orchestra.
His duties included leading it from the first
desk of violins (this being before the rise of the
conductor, as we know the role), playing solos,
and writing new music for it to perform. Three
years would pass before he began receiving a
salary for these considerable responsibilities.
Between April and December 1775, he
composed four of the five violin concertos that
can be unquestionably attributed to him. No. 1
fell outside this concentrated burst of attention,
predating its siblings by two years. His only
previous concertos were a series of piano pieces
based on themes by other composers.
Mozart at seventeen was already a highly
experienced (as well as brilliant) composer, with
seven operas and more than twenty symphonies
to his credit. This concerto therefore contains
nothing that suggests immaturity. Neither does
it demand virtuoso technique, but rather a pure,
singing tone, expressive warmth, and the finest
possible taste.
Program note by Don Anderson
Wolfgang Amadeus MozartBorn: Salzburg, Austria, Jan 27, 1756 Died: Vienna, Austria, Dec 5, 1791
20min
Violin Concerto No. 1 in B-flat Major, K. 207Composed: 1773
A TRUE PROFESSIONALMozart composed almost all of his
music for violin and orchestra in the
mid-1770s, when he was in his late teens
and early twenties and still in the employ
of the Archbishop of Salzburg. In his
violin concertos (like the other music
he churned out steadily at this time),
he was simply fulfilling his obligations
as a musical courtier, writing music
intended for immediate consumption
as social entertainment. Still, he applied
his spectacularly assured compositional
technique eagerly to the task.
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In January 1787, Mozart traveled to Prague,
where his Marriage of Figaro was playing to
sensational acclaim. On the 19th, he gave a
successful concert at the National Theatre that
included his Symphony No. 38, which he had
completed on December 6, in Vienna, and
which made a tremendous impact. When he left
Prague in early February, he was elated, flush
with money, and had a contract in hand for a
new opera (it turned out to be Don Giovanni).
He would enjoy the affection of the people of
Prague for the rest of his life, and the symphony,
thenceforth known as the “Prague”, would be
often performed and much loved there.
Mozart wrote no symphony more ambitious or
original than the “Prague”. Though in just three
movements, it is a work of unusual density
and grandeur, challenging to both the ear and
the intellect. Some early listeners thought it
too clever, too complex, too “scholastic”, yet
Mozart harnesses his teeming imagination
with consummate skill, always putting it in the
service of heightening dramatic tension and
expressive power.
The first movement is massive and busy, its
rhetorical impact elevated by a weighty slow
introduction. The movement is harmonically
adventurous and rife with counterpoint, and in
the middle Mozart crafts a development section
of genuinely Beethovenian proportions—and
Beethovenian intensity.
The second and third movements, both in full
sonata form, are also unusually serious and
spacious, as though Mozart sought to make
up for the “missing” minuet. The Andante is a
gently rocking pastorale, delectably scored and
superficially graceful, yet there are shadows
here that hint at something deeper than
Arcadian beauty: galant melody gives way to
learned counterpoint; euphonious textures
are ruffled by piercing, lamenting dissonances.
Though the movement ends as serenely as it
began, it has been too much disturbed to be
remembered as merely idyllic. The playful
bustle with which the finale begins suggests
opera buffa, yet this movement, too, acquires
unexpected weight as it unfolds, through noisy
eruptions, digressions into minor keys, bursts
of counterpoint, serious-minded development.
The storm clouds always part; high comedy
always returns; but the result is a movement
both lighthearted and genuinely substantial.
Program note by Kevin Bazzana
23min
Symphony No. 38, in D Major, K. 504 “Prague”Composed: 1786
A NEW SERIOUSNESSMozart’s “Prague” Symphony marked a new
seriousness and complexity in the symphony
as a genre: it has longer movements
and increased contrapuntal textures and
chromaticism. It also exhibits a new style of
orchestration: the woodwinds have a more
prominent role in the presentation and
development of thematic materials, a result
of Mozart’s exposure to the superior wind
players in Vienna and Prague.
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Bernard LabadieconductorBernard Labadie made his TSO début in November 2002.
Bernard Labadie has established himself worldwide as one
of the leading conductors of the Baroque and Classical
repertoire, a reputation that is closely tied into his work
with Les Violons du Roy (for which he served as Music
Director from its inception until 2016) and La Chapelle de
Québec. With these two ensembles, he regularly tours to major venues and festivals
in Canada, the US, and Europe. Labadie is also a regular presence on the podiums
of the major North American orchestras; international engagements in past seasons
have brought him to conduct orchestras in Europe and Australia.
Bernard Labadie’s extensive discography includes many critically acclaimed recordings
on Dorian, ATMA, and Virgin Classics labels. Recent recordings include C.P.E. Bach’s
complete cello concertos with Truls Mørk and Les Violons du Roy and J.S. Bach’s
complete piano concertos with Alexandre Tharaud, both by Virgin Classics, and
Haydn’s piano concertos with Marc-André Hamelin, released by Hyperion in April 2013.
The Canadian government has honoured Bernard Labadie with the appointment as
Officer of the Order of Canada in 2005. His home province named him a Chevalier
de l’Ordre National du Québec in 2006.
THE ARTISTS
Isabelle FaustviolinThese performances mark Isabelle Faust’s TSO début.
Isabelle Faust captivates her listeners through her
insightful and faithful interpretations, based on a thorough
knowledge of the historical context of the works as well
as her attention to current scholarship. At an early age,
Isabelle Faust won the prestigious Leopold Mozart and
Paganini competitions and soon appeared with the world’s leading orchestras. 2016
marks her first year as Artistic Partner with the Mahler Chamber Orchestra.
During recent years, Isabelle Faust developed a close relationship with the late Claudio
Abbado and performed and recorded under his baton. Their recording of Beethoven’s
and Berg’s violin concertos with Orchestra Mozart received a Diapason d’or Award
(France), an Echo Klassik Award (Germany), Gramophone Award 2012 (UK), as well as
a Record Academy Award (Japan). Her recording of Mozart’s violin concertos with Il
Giardino Armonico and Giovanni Antonini will be released in 2016/17.
Isabelle Faust plays the “Sleeping Beauty” Stradivarius (1704), kindly on loan by the
L-Bank Baden-Württemberg.
The TSO is a charity that is transforming lives through music. Charitable donations play a direct part in delivering beautiful musical experiences like the Mozart Festival.
Sustaining your Orchestra with a monthly donation is easy and affordable. Sign up now for as little as $10 per month,
and set up your charitable giving for the 2017 tax year.
Support your TSO today and enjoy a symphony of donor benefits all season long!
Visit the Patron Services desk at intermission, call 416.598.3375, or visit TSO.CA/Donate.
It takes you.It takes more than a great orchestra.
12
$7,500,000+H. Thomas & Mary Beck
$5,000,000–$7,499,999Judith (Billie) R. Wilder
$2,000,000–$4,999,999BMO Financial GroupRobert & Ann CorcoranSheryl L. & David W. KerrToronto Symphony Volunteer
CommitteePhyllis & William R. WatersAnonymous (1)
$500,000–$1,999,999The Renette & David Berman
Family FoundationThe late Dr. Michael BraudoHans & Susan BrenninkmeyerThe Catherine and Maxwell Meighen
FoundationCIBCIndra & Rags DavloorDesjardins GroupThe late R. Fraser ElliottEnbridge Gas Distribution Inc.The Gerard & Earlaine Collins
FoundationBlake C. Goldring
James & Joyce GutmannMrs. Ethel HarrisWilliam & Nona HeaslipPam & Chris HodgsonImperial Oil FoundationInvesco Ltd.Ira Gluskin & Maxine Granovsky
Gluskin Charitable FoundationJoseph E. Seagram & Sons Ltd.Mr. Allan Kimberley &
Ms. Pam SpackmanKPMGM. George & Leanne LewisThe McLean FoundationMr. Richard PhillipsPwC
RBC FoundationRBC Wealth ManagementRichard Rooney & Laura DinnerBarrie D. Rose and FamilyWilliam & Meredith SaundersonScotiabankThe Estate of James Drewry StewartThe late Leslie StibingerPhil & Eli TaylorTD Bank GroupTippet-Richardson LimitedThe late Isabel Carey WarneMrs. Gert WhartonThe late Lillian Gail WrightAnonymous (2)
BENEFACTORS’ CIRCLEThe Benefactors’ Circle recognizes the extraordinary philanthropic commitment of our donors whose cumulative giving totals $500,000 or more since 1985.
$1,000,000+H. Thomas Beck+*Phyllis & William R. Waters*
$300,000–$999,999Robert & Ann Corcoran*Sheryl L. & David W. Kerr+The Estate of James Drewry StewartAnonymous (1)
$100,000–$299,999Dean & Sonia Baxendale*The Renette & David Berman
Family Foundation*Hans & Susan Brenninkmeyer*Indra & Rags DavloorBlake C. Goldring*Mrs. Ethel Harris*
Pam & Chris HodgsonIra Gluskin & Maxine Granovsky
Gluskin Charitable Foundation*Margie & Peter Kelk*Mr. Thomas C. MacMillan*Mr. Richard PhillipsRBC Foundation*Scotiabank Group*
Toronto Symphony Volunteer Committee*
The William R. and Shirley Beatty Charitable Foundation
Anonymous (1)
FOUNDERS CLUBThe Founders Club recognizes the visionary leadership of those who are making annual gifts of $100,000 or more. Founders Club donors are key investors in the TSO’s current and future success.
$50,000–$99,999BMO Financial GroupDavid G. Broadhurst* The Catherine and Maxwell Meighen
Foundation*CIBC*Mr. Luke SeabrookSymmetrica Inc.
$20,000–$49,999Mr. & Mrs. Peter W. &
Brigitte AndersonMs. Pat Baker & Mr. Duff Scott
Francine & Bob Barrett*Dr. Thomas Beechy*Mrs. Earlaine Collins+*Dorne & Angela Collison*George A. Fierheller*James & Joyce Gutmann*The Hal Jackman FoundationWilliam & Nona Heaslip*Holdbest FoundationIan Ihnatowycz Family FoundationJ.P. Bickell Foundation*Mr. Allan Kimberley &
Ms. Pam Spackman*
Vahan & Susie KololianPeter Levitt & Mai Why+*M. George & Leanne Lewis*The McLean Foundation*The Minto Foundation Inc.Mr. & Mrs. William & Sally MorrisPeter NaylorMarianne Oundjian*Peter & Nadine Oundjian* RioCan REITRichard Rooney & Laura Dinner*Robert T. & Francine Ruggles*Esther & Sam Sarick*
William & Meredith Saunderson*Dr. Marianne Seger*Tom & Ellen SmeeMr. Howard SokolowskiThe Temerty Family*Bill & Bronwen Thomas*Luc & Pamela Vanneste*Xerox Canada Ltd.*Mrs. Sharon Zuckerman*Anonymous (3)
MUSIC DIRECTOR’S CIRCLEThe Music Director’s Circle recognizes the generosity of our donors who are making significant and loyal annual contributions to the TSO’s operations and activities.
For more information on the Music Director’s Circle, please contact Marion York, Director of Philanthropy, at 416.593.7769 X 292.
*10 years or more of support+Includes gift to the Toronto Symphony FoundationList reflects donations received from July 1, 2015–December 1, 2016 at the level receipted.
THANK YOU
Funds Supporting General OperationsJudith (Billie) R. Wilder
Endowment FundOntario Arts Endowment FundGeneral FundMinister of Canadian Heritage
Grant FundFuture Support FundGeneral Endowment Fund
Orchestra Chair Endowment FundsTom Beck Concertmaster ChairSheryl L. & David W. Kerr
Principal Clarinet ChairToronto Symphony Volunteer
Committee Principal Flute ChairToronto Symphony Volunteer
Committee Principal Trumpet ChairDr. Armand Hammer Principal Cello
Special Purpose Endowment FundsGert Wharton Endowment FundRae and Perry Dellio FundSheryl L. & David W. Kerr
Special Initiatives FundScholarship Fund
TORONTO SYMPHONY FOUNDATION Donors to the Toronto Symphony Foundation play an important role in securing the future of the TSO. These Funds have been established by significant gifts that provide an ongoing stream of income to the TSO ensuring that the vitality and artistic excellence of the Orchestra will continue for future generations.
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MAESTRO’S CLUB Platinum Baton ($12,000–$19,999)Ann H. Atkinson*Burgundy Asset Management Ltd.*Margaret & Jim Fleck*Sandra Forbes & Stephen Grant*Mr. & Mrs. John G. Harrison*Cecile & Fred Metrick*Barrie D. Rose & Family*Gerald & Marion Soloway*Maureen & Wayne Squibb*Jack Whiteside*Mr. & Mrs. Harold Wolfe and
Mr. & Mrs. Ab Flatt*Judy & Larry Ward+*
Gold Baton ($7,500–$11,999)American Express Canada Inc.Tony & Anne Arrell*The Bennett Family Foundation*Dr. Jane E. Brissenden &
Dr. Janet M. Roscoe*Valerie & David Christie*The Dalglish Family FoundationLeslie & Anna Dan*Buddy & Leigh Eisenberg*Bob & Irene Gillespie*Jim & Pat GlionnaDr. Noelle Grace &
the Shohet Family*Guild Electric Charitable Foundation*The Hunt Family*Richard Isaac & Brian Sambourne*W. Matheson*John & Esther McNeil*Earl & Janice O’Born*Oxford Properties Group Inc.*Park Property Management Inc.Jeannie Tanenbaum*Ken & Joan Taylor*Tom’s PlaceWentworth Technologies LimitedJudith (Billie) R. Wilder+*G.E. Wilson*
Silver Baton ($3,500–$7,499)Judith Adams & Robert Black*Mr. & Mrs. Gregory James AzizHoward A. Back*Bill & Karen Barnett*David P. Barrett*Mrs. Marion G. Bassett*John M. Beck & Diane FrancisLawrence & Frances BloombergDouglas Bodley*Bruce Burgess*Ms. Reny Burrows*Margaret Harriett Cameron*John & Margaret Casey*Crinoline FoundationRae Dellio+*Mrs. Judy Dunn*E-L Financial CorporationBarbara C. EastmanThe Thor E. and Nicole Eaton Family
Charitable FoundationRobert & Ellen Eisenberg*Philip & Joyce Epstein*Sheldon & Carol Esbin*Fabricland*Graham Farquharson*Thomas & Judy Fekete*John & Encarnita Gardner*Ms. Susan GerhardDonna & Cal Goldman*Mary & Bryan Graham*John & Judith Grant*
Denis & Florence Hall*David G. HallmanDr. Ronald M. Haynes+*Mr. & Mrs. David & Mariella HolmesThe Hope Charitable Foundation*The Norman & Margaret Jewison
Charitable Foundation*Eileen JurczakMrs. Lorraine Kaake*Patrick & Barbara Keenan*Mr. Hans KlugeJudy Korthals & Peter Irwin*Robert Korthals & Janet Charlton*Allan & Nora Lever*Myrna Lo*Mr. Vincent Lobraico*Eunice Lumsden & Peter Luit*Leslie & Susan MacMillanPatricia L. Martin*June McLean*Paul & Martha McLean*Noel MowatDr. Jan Narveson*Michael & Shelley Obal*The Olzhych FoundationRobin B. PitcherAlan & Gwendoline PyattShirley H. Reid*Lawrence & Darlene Rosen*Lorraine & Tom Ryan*David Service*Mr. & Mrs. Barry & Honey ShermanMr. & Mrs. John L. &
Amanda Sherrington*Sleeman Breweries Ltd.*Steinway Piano GallerySteve & Sally Stavro Family FoundationStronach Consulting Corp.Mr. & Mrs. William Switzer*Neil Tait & Susan Zorzi*Therese Thackray*Mr. Ronald Till*Philip & Nanci Turk*Margaret & Don Walter*Mrs. Ruth Watts-Gransden*Stan & Ros Witkin*Tuan YeapWilf & Helen Ziegler*Anonymous (4)
Conductor’s Baton ($2,000–$3,499)Hilary J. ApfelstadtMr. Noel ArchardJudy Arrowood*Ron Atkey P.C., Q.C.*The BLG FoundationRichard J. Balfour*Joyce BarrassLaurie BarrettHelen Barron*Dan Bereskin & Rhoda Gryfe*Erika Biro in memory of George Biro*Joan C. Bismillah*Walter & Anneliese Blackwell*Ellen & Murray Blankstein*The Boiler Inspection & Insurance
Company of Canada*Mr. George Brady & Dr. Teresa Brady*Dr. & Mrs. T. D. R. Briant*Bill & Arden Broadhurst*Peter & Anne Brymer*David & Lois BucksteinDr. Christopher BullerAnita & Douglas BurkeMs. M. Burkhard*Maureen Callahan & Douglas Gray*Ellen & Brian Carr*Margaret J. Catto*
Mr. & Mrs. Robert & Andrea ChisholmMrs. Marina CholakisMatina Chrones & Steve SimonFrank Ciccolini Sr.*Classical FM 96.3*Mr. & Mrs. Russell Cleverdon*Judi & Mickey CohenTerence & Maria Collier*Brian Collins & Amanda Demers*Sharon L. ConwayMurray & Katherine Corlett*Ninalee CraigJohn & Mary Crocker*Dianne & Bill Cross*Greg CummingAlbert de Goias*Morris Dorosh & Merle Kriss*Reinhard & Marlene DotzlawMarc & Vreni DucommunDr. Alicia Dunlop-Devaux*Katharine Mary ElderWendy & Elliott Eisen*Mr. Seymour Epstein &
Madam Justice Gloria Epstein*Roberta & Jon Fidler*Dr. Erica Fischer &
Mr. David Harrison*Lloyd and Gladys Fogler*Roy Forrester & Ed CabellDr. & Mrs. Steven & Sonia Fried*Ruth Frisch*Mr. Adrian FungDr. Mark M. Garner*Diane & Stan Gasner in memory
of Isidor Desser*Bronwen Gates*Nance Gelber & Dan Bjarnason*Dr. Abraham J. Gelbloom &
Mrs. Miriam Gelbloom*Marika & William Glied*Mr. Michael Gnat*Mrs. C. Warren Goldring*Paul Gooch & Pauline ThompsonJohn Goodhew & Jeffrey AxelrodDr. Michael Gordon &
Ms. Gilda Berger*Mrs. Mary GoreMr. Bryan GrantSue & Harvey Griggs*Mr. & Mrs. William Gruber*Douglas Gubitz & Diana Soloway*Ellen & Simon Gulden*Pinchas GutterRuth & John HanniganRon Hay & Hilaire St-Pierre*Mary & Arthur Heinmaa*Hon. & Mrs. Paul Hellyer*Nigel & Bridget HodgesFrances Hogg*John & Daisy Hort*David E. & Beth Howard*Roberta & Richard Innes*Edmund J. InnissJackman Foundation*Laura JantekJarvis & Associates*Elizabeth Kady in memory
of Dr. Michael Kady*Ms. Miriam KaganEvelyn Kai & Francis LiPeter KalenMarcia & Paul Kavanagh*Jessie KaziWilliam & Hiroko Keith*Ross & Ann Kennedy*Sarah & Ross KerrFlorence KingstonMr. Gordon KirkeScott Kowaleski
Valarie KoziolDr. Milos J. Krajny*Harriette LaingGeorge W. Lange*John B. Lawson*Ms. Debra Le Bleu*Connie Lee*Cathie Leak & Paul Palmer*Tin LeungAnthony J. Lisanti*Long & McQuade Musical
Instruments*Karen Rice & Douglas Ludwig*Mr. Sanjay Luthra &
Ms. Jane Ann Hendricks*Bruce & Barbara MacGowan*M.L. Maher & V. HatchetteCatherine Mahoney*Kamlan Makhan & Gary ClewleyMr. Keith MartinJohn & Dorothy McCombMr. John M. McCulloch*Kenneth & Lois McFarquhar*David & Patty McKnight*Peter & Virginia McLaughlin*Donald & Lindsay McLeanCaryl & Dennis McManus*Julie Medland*The Menkes Family*Dr. Alan C. Middleton*Barbara & Frank Milligan*Judith Mills*David Milovanovic & Cinda DyerBill Mitchell & Diana Chant*Mitrebox User Experience Design Inc.Mrs. Elizabeth MooreJay & Walter Morris*Mr. & Mrs. L.E. Muniak*Steve Munro*John & Sarah Nagel*Mr. Maymar NamanKeith Nash & Cindy ForbesEmil & Dorothy Nenniger*Carol & Jerry Nesker*Mr. & Mrs. Eric & Sandra NeuvilleDavid NicholsMrs. Natalie Obal*Michael O’Bee & Lorraine LeeJean O’Grady*Myrna & Martin Ossip*Dr. & Mrs. N. Pairaudeau*Gloria Pelchovitz*Norbert & Elizabeth Perera*Victor & Esther Peters*John & Sue PitfieldDr. Paul & Ruth Pitt*Brayton Polka*Mr. David PostillCharles PriceThe Pottruff Family Foundation*Quadrangle Architects Limited*John & Maria Radford*The Carol & Morton Rapp FoundationMs. Jean Read*Kenneth F. Read*Panni Relle*Mr. Mark RittingerIain & Cristina Ronald*Mr. & Mrs. Gordon Rosenberg*Dr. & Mrs. Mark & Jacqueline RotherDr. & Mrs. Robert Rottapel*Mrs. Marjorie Rowe*Marjorie Rowe*Ingrid Rowoldt*Ms. Betty RozendaalWendy Sanford*Beverly & Fred Schaeffer*Charles & Cathy Scott*Colleen Sexsmith*
ANNUAL SUPPORTThrough their generous gifts, Maestro’s Club donors and corporate and foundation partners provide a critically important base of funding support.
14
Wendy Setterington & Gerald Swinkin*
Edward & Sheila Sharp*Mrs. Margaret Shaw*Dorothy Cohen Shoichet*Stanley & Shirley Shortt*Mrs. Judy Simmonds*Mrs. Roberta SmithStephen & Jane Smith*Dr. Harley Smyth &
Mrs. Carolyn McIntire SmythMr. Philip SomervilleLois Spencer & Per Voldner*Mr. Carl Spiess
Mrs. Gunhilde A. Stahl*Mrs. Doreen L. Stanton*C.A. SteeleRonald Steinberg & Nancy Prussky*Mr. & Mrs. Rudolf & Elisabeth StodtPaul Straatman & Shane TolandFrancoise Sutton*Maria & Paul Szasz*Peter TamDoug & Gail Todgham*Mr. & Mrs. John A. Tory*Toronto Symphony Orchestra
Players AssociationAlex Tosheff
Bettie & Mark TullisMr. & Mrs. Harold WolfeDr. Penny Turner &
Dr. Anthony WoodsMr. Stefan Varga & Dr. Marica Varga*Tony & Nancy VetteseMr. & Mrs. Christoph von Krafft*Angela & Michael VuchnichDebra & Jack WalkerRobert & Menna Weese*Christopher & Susie WeinGerry & June WeinbergThe Henry White Kinnear
Foundation*
June & Gerry WeinbergFrank Whittaker*Joan Williams*Stephen Williamson &
Margot Hallman+*Nan & Jack Wiseman*Mrs. Joan Wood*Jane Wright*The Marjorie and Joseph Wright
Memorial FoundationTakahiro YamanakaJoyce & Fred Zemans*Anonymous (10)
For more information on the Maestro’s Club, please contact Adam Bailey, Manager of Annual Giving, at 416.593.7769 X 257.
LEGACY CIRCLEThe TSO honours Legacy Circle donors who, through their estate plans, are ensuring a living tradition of outstanding live symphonic music.
Ellen AmigoCallie ArcherAnn H. AtkinsonA. Phelps BellMs. Ruth BentleyMs. Barbara BloomerBrenda BoyesMarnie BrachtTina BreckenridgeFreda & Allan BrenderMr. Charles R. BrownMs. Reny BurrowsMrs. Ann E. ChristieEarlaine CollinsDianne & Bill CrossVera DounaevskaiaMarion DowdsJudy DunnFraser & Margot FellOlga FershaloffIngrid FoldesLorraine & Gordon ForrestRoy Forrester & Ed Cabell
Rev. Ivars & Rev. Dr. Anita GaideSylvia GarrattDr. & Mrs. Allan C. GoldJames & Joyce GutmannCharlotte Davis & Richard HaighG. Michael HaleDavid G. HallmanC. HaranyMrs. Joan L. HarrisMr. & Mrs. John G. HarrisonDr. Ronald M. HaynesMs. Karen HendersonJames HewsonLauri & Jean HiivalaChristopher E. Horne, Esq.Mr. Geoffrey HuckMr. Michael HudsonRoger Johnson / Matt Hughes / the
late Gary F. VellekThe Hyer FamilyMr. Charles JacobsenStephen JohnsonMr. & Mrs. Richard W. Johnston
William & Hiroko KeithAllan Kimberley & Pam SpackmanMiss M. June KnudsenGurney KranzPeggy LauPeter Levitt & Mai WhyMr. Tom C. LoganRobert & Patricia MartinMr. Ron McCallumMrs. B. McKenneySylvia M. McPheeMrs. Stephanie MeredithDr. Alan C. MiddletonGeorge & Judith MillsSigmund & Elaine MintzJoan & Hugh PaisleyMichael Lawrence Parker
“In Memoriam”Mr. & Mrs. Jim PattersonThomas A. Patterson, MDDiane W. PettetRobin B. PitcherMs. Anna Prodanou
Kenneth F. ReadIain & Cristina RonaldMarie Angela SampsonMr. J.C. ScarfeShauna & Andrew R. ShawDorothy Cohen ShoichetMr. & Mrs. Bruce & Louise SleminAlan & Geraldine SperlingGordon & Joan StevensonFrances StrettonNancy SutherlandAnn D. SuttonLillian S. TanizakiJ. Kenneth ScottH. van der SchaafJoanne WaddingtonEstate of Christianne WardaLeonard WillschickJudith H. Winston & Andrew S. WinstonDenny YoungAlicia ZavitzWilf & Helen ZieglerAnonymous (42)
ESTATESThe TSO regrets the passing of several cherished supporters who have made significant contributions in their lifetime and/or through their Estate.
INSTRUMENTS
Estate of Mrs. Gladys Veronica ArmourEstate of Judith Harriet Peterson DukeEstate of Jocelyn FullertonEstate of Thomas Michael Hammond Hall
Estate of Donna Kathleen Louise LunauEstate of Jocelyn FullertonEstate of Judith Harriet Peterson DukeEstate of Zia Nemes
Estate of Jon Robert PearceCanada Council for the Arts
– Veda PeeneEstate of Gabriella SchmidtEstate of Alice Mary Sidgwick
Estate of Helen Allen StaceyEstate of James Drewry StewartEstate of Miss Dorothy Anne WalterEstate of Lillian Gail WrightAnonymous (3)
• Hans and Susan Brenninkmeyer are patrons of the TSO’s New York Steinway Concert Grand Piano.• The Lyon & Healy harp is a gift of the Toronto Symphony Volunteer Committee.• The Amati viola dated 1703 is made available to Principal Viola, Teng Li, thanks to the generosity of Phyllis & William R. Waters.• The Steinway grand piano in Peter Oundjian’s home is made available thanks to the generosity of Steinway Piano Gallery Toronto,
the official piano of the TSO.• The Steinway piano in the Music Director’s Studio is a gift of the Toronto Symphony Volunteer Committee.
For more information on the Legacy Circle or Estates, please contact Marion York, Director of Philanthropy, at 416.593.7769 X 292.
*10 years or more of support+Includes gift to the Toronto Symphony FoundationList reflects donations received from July 1, 2015–December 1, 2016.
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TORONTO SYMPHONY VOLUNTEER COMMITTEE
SEASON PRESENTING SPONSOR
GOLD PARTNERS
SILVER PARTNERS
CORPORATE SUPPORT
MEDIA & GOVERNMENT SUPPORT
Barclays Capital Canada Inc
Bennett Jones LLP
Blake, Cassels & Graydon LLP
BMO Capital Markets
Canadian Tire
CBC Radio 2
CIBC
Deloitte Foundation Canada
Divine Furniture Rental
EY
Grano
HSBC Bank Canada
Intact Financial Corporation
IFDS (International Financial Data Services)
John Novak
Manulife
Maroline Distributing Inc
Quince Flowers
RBC Capital Markets
Scotiabank
TD Securities Inc.
The Corporation of Massey Hall & Roy Thomson Hall
Torys LLP
PLATINUM PARTNERS
OFFICIAL AIRLINE
*List reflects sponsors as of July 1, 2015–December 1, 2016.
BRAVO TO OUR PARTNERS
POPS SERIES PRESENTING PARTNER
16
CONCERT ETIQUETTE• We want all of our patrons to enjoy our performances.
Please be courteous to others by refraining from quiet conversations, whispers, talking, singing, coughing, humming, tapping to the music, turning pages, leaning forward in your seat, and unwrapping cellophane-wrapped candies; this disturbs the performers as well as other audience members.
• We share the air. Go scent free. Please be considerate of those in the audience who may have allergies and/or multiple chemical sensitivities and refrain from wearing cologne and perfume or other scented products.
• Please turn off your cell phones, BlackBerrys, iPhones or other smart phones, pagers, and watch alarms before entering the auditorium. Please refrain from referring to them during the concert. This is a basic courtesy to the musicians and fellow patrons.
• Video- and audio-recording devices and cameras with flash are strictly prohibited in the auditorium. Please leave any such devices at the coat check.
LATECOMERS• We suggest that you plan to arrive 45 minutes before the
scheduled start time. This will allow time to find your seat, relax, and read the program notes.
• Check your tickets carefully for concert times and venue information. When coming to a concert, please remember that traffic, parking, and weather can affect your arrival time, so leave early to make sure you’re not late.
• Out of respect for all patrons and performers and to maintain musical continuity, latecomers and patrons who leave the auditorium during the performance will be readmitted only if there is a suitable break in the performance. This “late call” is determined by the conductor and guest artists.
CHILDREN• Children 5 years of age and older may attend most
TSO concerts with ticket purchase. We suggest that children be 10 years of age or older for Masterworks, Casual, and Special Concerts. We regret we cannot allow children under 2 years of age into any TSO concert, with the exception of our YPC Concerts.
• Young People’s Concerts and the Family Christmas Concert are created especially for audience members ages 5 to 12. While children under the age of 5 are welcome to attend these concerts, 5 years is considered an appropriate lower age limit. Children under 5 may attend the Young People’s Concerts and the Family Christmas Concert with ticket purchase. Young people under the age of 12 will not be admitted into the hall without an adult in attendance.
BOX OFFICE• The TSO/Roy Thomson Hall Box Office at
60 Simcoe Street is open weekdays from 10am to 6pm, Saturdays from noon to 5pm, and two hours before each performance. Hours may vary.
• You may access our 24-hour information lines or place telephone orders by calling 416.593.1285. There is a service charge on all telephone and online orders.
• Artists, prices, programs, dates, and broadcasts are subject to change without notice.
• There will be no refunds, credits, or adjustments made to your ticket price in the event of a concert change.
SPECIAL NEEDS SERVICES• The Toronto Symphony Orchestra is committed
to providing accessible services to persons with disabilities that are consistent with the core principles of independence, dignity, integration, and equality of opportunity, as set out in the AODA for Customer Service. Please call 416.598.3375 for more information on the services offered at our performance venues.
PARKING• For information on each of our performance venues,
please visit TSO.CA/Planyourvisit.
USEFUL PHONE NUMBERS
For ticket sales, subscriptions, and patron service: TSO Patron Services Centre 416.598.3375
For group tickets call: 416.598.5338
TSO Administration Offices: 416.593.7769
Roy Thomson Hall Offices: 416.593.4822
TSO’s Privacy Policy: TSO.CA or 416.598.3375
PATRON SERVICES & INFORMATION
BMO is proud to be the 2016/2017 Season Presenting Sponsor of the Toronto Symphony Orchestra.
Great music lives here.
16-2066_BMO_TSO_Season_Sponsorship-Ev1.indd 1 8/29/16 3:59 PM
To explore the connections between music and visual art, and to celebrate other artists in the community, the TSO continues its Music & Art Series this season by featuring the work of Toronto artists on the cover of the program.
This cover features detail from ANSER’s Mozart (36" x 48", acrylic ink on canvas).
MUSIC & ARTTHE TSO
SERIES
Anser’s Mysterious Date, created in early 2007, is an attempt to create a more publicly inclusive form of graffiti. Through the use of traditional graffiti mark–making methods, “the face” was developed to engage a typically ignored public. Instead of stylized letters which Anser had done for years prior, a face was created in the same methods as taggers and bombers. Anser felt traditional letter-based graffiti perpetuated an insular community, “since graffiti was in the public realm, why not involve the rest of the public.” The moniker “Mysterious Date” was coined by a photographer, Michael D’Amico, who, for a CONTACT photography exhibit, took photos of this painted face and dubbed the series, “Mystery Date”. The adoption of this name is a testimony to this public engagement.
ANSER