La Scena Musicale

Saturday, April 5, 2008

Met Opera in HD: La Boheme

If there is one opera that qualfies as the all-time audience favourite, it is Puccni's La boheme. It is by far the most performed opera in the 125 year history of the Metropolitan Opera, surpassing other popular works the likes of Aida and Carmen. The current Met production by Franco Zeffirelli, first seen in the 1981-2 season with Teresa Stratas and Jose Carreras, is the most performed production in the history of this house. It has been given a total of 349 times! Think about it - the Met season is approximately seven months long, with seven performances a week. For the sake of simplicity of calculation, we are not going to worry about the two weeks in January (the last three seasons) when the theatre was dark. This means the Zeffirelli Boheme has been seen every night for a staggering eleven months and three weeks, equal to over one and a half Met seasons! It boggles the mind.

Zeffirelli with his super realism and the Met with its deep pockets are a perfect match - witness his Turandot, Tosca, Cav & Pag, and Carmen, all mega-productions that have become audience favourites. Critics on the other hand have not been so kind. Many complain that the massive and overly busy productions dwarf the singers, a criticism not ungrounded. Still for sheer opulence, you can't beat Zeffirelli. The other major criticism is his total lack of "concept" - again a valid comment. If ever there is an "anti-Regietheater Regie", it would be Zeffirelli, who is always faithful to the composer's original intentions. In a Zeffirelli production you won't find a Violetta dying in an AIDS ward, or a Don Jose being executed by a firing squad. For my money, there is always room for a traditional production, and this La boheme is as traditional as it gets.

This revival stars Romanian soprano Angela Gheorghiu and Mexican tenor Ramon Vargas. Joining them are Basque soprano Ainhoa Arteta (Musetta) and French baritone Ludovic Tezier (Marcello). The rest of the cast are made up of a mix of young artists - Oren Gradus (Colline), Quinn Kelsey (Schaunard) and a Met stalwart - Paul Plishka (Benoit and Alcindoro), all under the helm of Italian maestro Nicola Luisotti. It was shown today at the Sheppard Grande in four cinemas, a total of 1500 seats, all sold out in advance. The huge crowd was not disappointed. This performance was about as good as one is likely to encounter in the opera house these days.

The glamorous Angela Gheorghiu's Mimi is a bit too overtly flirtatious and calculating in Act One for my taste, although by Act Three, she was sufficiently tragic to elicit the sympathies of the most hard-hearted in the audience. Her singing was beautiful, although I find her timbre a bit cool and not sufficiently Italianate. She "chested" a few times in Act One, perhaps the voice was not yet sufficiently warmed up. Much of Mimi's music is written in the middle, an area of Gheorghiu's voice that is not ideally full. I would have preferred a modicum of portamento - it is a virtue, not a sin, in verismo and Puccini! Her Italian parlando lacks natural ease. (I admit I can't get the voice of Renata Tebaldi out of my mind when it comes to this role) Ramon Vargas may not have the most distinctive of tenor sounds, but overall, his Rodolfo was a pleasure. There was also good chemistry between these two.

The other couple were not on the same level. Soprano Ainhoa Arteta acted up a storm, but there was no hiding the fact that she made a shrill and quavery Musetta. There is a moment in Act Four, when Mimi asks "Chi parla?" to which Musetta replies "Io, Musetta". This is a moment when any half-way decent Musetta gets to show off her smooth legato. Well, this little phrase defeated Arteta completely. As Marcello, Ludovic Tezier's lyric baritone was pleasant if a bit anonymous, his acting insufficiently detailed, especially in his scene with Mimi in the opening of Act Three. There was no intensity coming from him; his facial expression was blank. He wasn't listening to her; he basically just put his hands in his pockets and stopped acting! Tezier was completely outsung by Quinn Kelsey, who was a particularly well sung (and well fed) Schaunard. To his credit, Kelsey, given his large size, managed the strenuously physical staging in Act Four without difficulty. Oren Gradus (Colline) lacked the sonorous bass necessary to make his Coat Song effective, something done to perfection in the past by the veteran Paul Plishka, now as Benoit/Alcindoro. A welcome addition to the roster, Nicola Luisotti conducted an incisive and lyrical performance, although I find his intermission interview and his body language a bit overly solicitous.

Like a comfortably cluttered and lived-in house, the sets in this Boheme is starting to look a tad frayed after so much use. Having seen this production a half dozen times at the Met, I have come to take this huge show for granted, so it was good to have the camera taking us backstage to witness the setup of the Cafe Momus scene, done in three and a half minutes - I was awe-struck by the enormity of the task. The videography was happily traditional here, unlike the quirkiness of the split-screen technology employed in Tristan. The Sheppard Grande audience should thank its lucky stars that once again, the satellite signal was flawless, with only a split second of frozen picture. I saw the show in Cinema Three, where the full house and the still air made it a little uncomfortable, especially for those sitting higher up. But other than that, it was an extremely enjoyable experience.

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Today's Birthdays in Music: April 5 (von Karajan, Roussel)

1980 - Herbert von Karajan, Salzburg, Austria; conductor

Book review (La Scena Musicale, 1999)

A Tribute: von Karajan conducts R. Strauss, Mussorgsky, Wagner, J. Strauss, Beethoven

1869 - Albert Roussel, Tourcoing, France; composer

Wiki entry
Home Page

Roussel: Impromptu, op. 21 (Angelica Vianna, harp)

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Friday, April 4, 2008

Measha Brueggergosman admits to gastric surgery

Canadian soprano Measha Brueggergosman admitted to eTalk Daily, CTV's entertainment newsmagazine, in a segment that was telecast April 3rd (see that she had gastric surgery, and that it was responsible for her dramatic weight lost of 150 lbs.

It's not clear why Brueggergosman originally withheld the true reason for her weight lost. As we reported in this blog in December, Brueggergosman told Chatelaine magazine in a cover story that two years of Bikram yoga was responsible for her weight lost. A web search shows that up until Feb. 17, the soprano still credited Bikram yoga in a story in the Ottawa Citizen. On Feb. 21, in a Diary published in the National Post she finally admitted,

Today [Feb. 10] is also the anniversary of my mini-gastric bypass surgery. Three years ago today, I took control of my own weight loss and underwent surgery. Since she had already seen my Dad through a quadruple bypass, my mom was the perfect companion. Feb. 10 is ALSO my Mom's birthday. Can you imagine? "Happy birthday, Mom!Now, excuse me while I count backwards from 10 for the anaesthesiologist." I almost ended up not being able to have the surgery because the day before I was scheduled, my blood pressure was perilously high. The doctors had to put me on drugs overnight to bring it down. I literally made it there just in time.

And two-and-a-half years ago, I discovered Bikram yoga. I was actually forced to acknowledge my own physicality for the first time in my life.

Brueggergosman will host the 2007 Juno Award Dinner on Saturday, April 5, in which the classical awards will be presented.

Update (2008-04-05):

Brueggergosman has published a letter in the April 2008 issue of Chatelaine explaining that initially she wanted to keep her medical information private. More to come.

Update 2 (2008-04-06):

Last night, Brueggergosman won the Juno for Best Vocal Album.


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Todya's Birthday in Music: April 4 (Eaglen)

1960 - Jane Eaglen, Lincoln, England; opera soprano

Wiki entry
Official website
The Valkyrie Next Door (La Scena Musicale, 2005)

Wagner: Tristan & Isolde. Jane Eaglen sings Isolde's Liebestod (Metropolitan Opera production)

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Thursday, April 3, 2008

Today's Birthdays in Music: April 3 (Applebaum, Castelnuovo-Tedesco)

1918 - Louis Appelbaum, Toronto, Canada; composer, conductor, administrator (Stratford Music Festival

Wiki entry

1895 - Mario Castelnuovo-Tedesco, Florence, Italy; composer

Wiki entry

César Amaro plays Tarantela by Castelnuovo-Tedesco

Sonata for clarinet and piano, 4th mvt. (Sergio Bosi clarinet, Riccardo Bartoli piano, 2007)

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Wednesday, April 2, 2008

Letter from Alain Trudel

The following is a letter from Alain Trudel, Principal Conductor of the CBC Radio Orchestra.

Dear members of my orchestra, colleagues, and music lovers across the country,

Over the past few days I have received your many communications concerning the untimely demise of the CBC Radio Orchestra (CRO). I want to thank you so much for your concern and love for the Orchestra. I am very moved to see how many people understand the importance of the CRO (celebrating its 70th anniversary this season) for Canadians of all musical backgrounds.

The musicians, and myself are, of course, devastated by the loss of our mandate from the CBC, which first gave us life. In this time of shock and obvious distress, I think it is important to articulate, as clearly as possible, the value that our Orchestra brings to music lovers from everywhere in our country and to the CBC itself. In order to move forward, we need to grasp what it stands for and its place in our cultural life.

At this moment the CRO is one of the top orchestras in the country; an orchestra, which we as Canadians have spent seven decades building. This Orchestra is a musical jewel and a cultural landmark.

Being the only Radio Orchestra in the Americas, the CRO is the ONE music ensemble that sets the Canadian music scene apart. By its existence, its mission and its work, it helps define Canada’s uniqueness.

Throughout it history the CRO has called upon composers and performers of all cultural backgrounds from across our country, proving that music is alive in our country, even when other matters may cause despair or discouragement. Through live performance and national broadcast exposure the CRO gives exposure to Canadian soloists and composers, sending a message of hope to all young Canadian creators and to musicians of all musical backgrounds. It shows that their voices will be heard and celebrated.

Throughout my tenure, I have insisted that we develop projects from all musical genres, including jazz, world, pop and Canadian native music. In 2007, we started the Great Canadian Song Book, which commissioned a diverse roster of composers to create “art song” settings of works from Joni Mitchell to Neil Young, from Buffy Ste-Marie to Serge Fiori and Michel Rivard. The CRO has developed creative projects around music from Asia and the Middle-East; around jazz improvisers as well as traditional orchestral repertoire as well as collaborating with the rapper K-os. During the last season, we commissioned 18 works over seven concerts. Through the CBC Radio Orchestra, the Canadian Broadcasting Corporation is not only seen as a programmer but also as an active partner in Canadian art-making.

The CRO, through the elegance of a national broadcasting network, has reached people across our country. In September 2007, we performed a specially developed program, live, in Iqaluit on Frobisher Bay. Months later, we went to White Rock, B.C. We have received invitations from large and small communities across Canada and even from major concert halls in Europe. All of this, alas, we are now unable to entertain.

I have been fortunate in my career to work extensively in both English and French Canada, having thereby, a truly national perspective. To my great joy, in recent months the French services of the Corporation have not only become more aware of the fine work of the CRO, but have expressed a desire to embrace it. This also is a path that we cannot now pursue. However, the role of the Orchestra in building bridges across our country is something we must never forget.

Many things have been made clear in the work of the Orchestra and in your response to its closing: the importance of music in our lives, the importance of nurturing, supporting and broadcasting the diversified and astonishing talent we have in our country, the role of a national broadcaster in bringing us together, and much more. We will each have our personal reflection on the meaning of all of this, but one thing is certain: the CRO reminds us of what it is we cherish most in music and in our country.

Respectfully yours,

Alain Trudel
Principal Conductor, CBC Radio Orchestra


Vivaldi : Atenaide

Sandrine Piau et Vivica Genaux, sopranos; Guillemette Laurens et Romina Basso, mezzo-sopranos; Nathalie Stutzmann, contralto; Paul Agnew et Stefano Ferrari, ténors
Modo Antiquo/Federico Maria Sardelli
Naïve OP 30438 (3 CD: 239 min 55 s)

****** $$$$

L’enregistrement du répertoire des opéras de Vivaldi est une entreprise de la plus haute importance musicale. Chaque production nous amène des trésors de découvertes et de plaisirs. Cette récente parution d’Aténaide (créé en 1729) ne fait certainement pas exception à la règle. Les solistes sont parmi les meilleurs que la scène musicale baroque actuelle puisse offrir, et l’ensemble Modo Antiquo, un nouveau venu, révèle une palette de couleurs et d’intensités franchement impressionnante. Cet opéra où l’on rencontre une princesse et un empereur byzantins (Théodose II), un prince perse, un ministre perfide et un enchevêtrement complexe d’amours contrariées et de jalousies exacerbées, est rempli de numéros virtuoses à couper le souffle, d’airs mémorables et de musique créée essentiellement pour exalter la beauté de la voix humaine. Un autre joyau est ici ajouté à cette magnifique couronne qu’est la série des opéras de Vivaldi de la maison Naïve.

-Frédéric Cardin

Buy this CD at

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Today's Birthday in Music: April 2 (Adler)

1905 - Kurt Herbert Adler, Vienna, Austria; conductor, administrator (San Francisco Opera)

Wiki entry

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Facts to Counter False Claims around Radio2 Changes

Canadian baritone Peter McGillivray, founder of the Facebook group Save Classical Music on the CBC was sent by a CBC insider an internal CBC document "Facts to Counter False Claims around Radio2 Changes" to respond to complaints about the changes to CBC Radio 2 Programming. See below

Facts to Counter False Claims around Radio2 Changes

Claim: - Classical music gutted by cancellation of Studio Sparks and Disc Drive
Fact: - In September Radio2 is introducing a new weekday, five hour classical program that will run from 10am to 3pm
-Classical Music will continue to be the single, most played genre on CBC Radio 2

Claim: - Live performance broadcasts of classical music have been significantly cut back.
Fact: - Last fall Radio 2 introduced a new, weekly four-hour classica performance show called Sunday Afternoon in Concert
- New nightly program The Signal (10pm - 1pm) regularly airs contemporary classical performances from across the country.

Claim: - Two national competitions at the heart of musical development in Canada have been cancelled or cut back
Fact: - CBC's national choral competition is scheduled for April-May 08
- Currently working on an alternative, higher impact approach to showcasing emerging classical performers.
- Expanding opportunities for youth development to include singer/songwriters, folk and roots music

Claim: -R2 doesn't care about listeners.
Fact: - R2 cares about Canadians from all regions, from all cultures, from all socio economic backgrounds

Claim: - Changes will be devastating to classical music fans and musicians in rural and less-dense areas of the country
Fact: - Continuing to spend the same amount on classical music overall and spending more (not less) in the regions of the country: Aired first opera in the Cree language; Tomson Highway's "The Journey (Pimooteewin)", a music drama he collaborated on with composer Melissa Hui.
- CBC's classical commissions expanding to include previously ignored segments of the country and society: Kiran Ahluwalia collaboration with the Manitoba Chamber Orchestra and contemporary composer Glenn Buhr, in two CBC commissioned works, called "Chant of Wind and Thunder" and "Chant of Water and Sky"
- Continuing to bring classical special events to rural Canada: Gould 75th annniversary; Upcoming Beethoven Festival featuring his Nine Symphonies.

Claim: - Degradation of Good Music
Fact: - Let's not confuse quality of music with style of music: CBC is committed to introducing Canadians to quality Canadian Music. it's a key value that drives all decision-making; We're broadening the genres we play in order to better meet our mandate of representing all regions and the broad range of music performed by Canadians.

Claim: - Focus on commercially lucrative music
Fact: - In fact, we're doing the exact opposite: Commercial radio only plays .8% of the Canadian music produced in any given year; We're going to go deeper exposing a lot more recorded Canadian talent that deserves to be heard; As a public broadcaster Radio2 doesn't, has never and has no plans to run advertising on air.

Claim: - CBC's abandoning mandate by moving away from Classical Music.
Fact: - Untrue. CBC's mandate is to reflect the regions, thepeople and the music of this country: By broadening the range of music we play we will do a much better job of meeting our mandate.

Claim: - No classical options left.
Fact: - Radio2 is featuring whole classical programs, jazz and other types of music in newly launched digital environment. Thsi means you now control what you listen to: Classical concerts on demand; Dedicated classical web radio stream

Claim: Competing with private radio for pop music crowd
Fact: - Not true: Private radio plays select few, in focused genre, in regular rotation; Radio 2 morning and drive programs wil play more emerging Candian talent in genres ranging fro blues to jazz to folk to roots and more; in between, five hours per day, we will continue to feature classical music

Claim: - Radio 2 still maintains a huge audience in Canada.
Fact: - Radio 2 does not have a a huge audience in Canada: According to latest BBM, of Canadians who listen to radio, only 3.1% listen to Radio 2; Research (Arts and Culture Study /06) tells us the reason many Canadians don't listen is because CBC doesn't represent them, their taste in music, their cultural roots or the region of the country where they live.
-Goal of redevelopment is to make the network more relevant to more Canadians while maintaining our strong commitment to classical music.


Tuesday, April 1, 2008

Prokofiev et Ravel : Concertos pour piano

Yundi Li, piano; Berlin Philharmoniker/Seiji Ozawa
Deutsche Grammophon 4776593 (51 min 4 s)
***** $$$

Selon maestro Ozawa, l'art pianistique du jeune prodige chinois, Yundi Li, est un habile mélange de poésie et de technique. L'écoute du présent CD confirme ses dires. On pourrait même ajouter que le Prokofiev, par ses cadences difficiles et sa froideur même, souligne plus particulièrement la dimension technique irréprochable du pianiste, alors que le Ravel (surtout l'élégiaque adagio) fait ressortir davantage le côté poétique de son jeu. Mais Li n'est pas seul avec son clavier : il bénéficie du soutien exceptionnel d'un grand chef à la tête de l'un des meilleurs orchestres au monde, ce qui donne deux interprétations à ranger dans les sommets discographiques. Cette version du deuxième concerto de Prokofiev – œuvre peu enregistrée – se compare aisément à celle de Kun Woo Pak (Naxos 8.550566), autre pianiste qui marie étroitement l'émotion à la virtuosité. Quant à la version du Concerto en sol de Ravel, elle se rapproche de la référence absolue Argerich-Abbado sur Deutsche Grammophon.

-Pierre Demers

Buy this CD at

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Today's Birthday in Music: April 1 (Rachmaninoff)

1873 - Sergei Rachmaninoff, Semyonovo, Russia; composer, pianist, conductor

Wiki entry
Sergei Rachmaninov (La Scena Musicale)

Short film of Rachmaninoff

Rachmaninoff - Piano Concerto No. 3, final movement (Horowitz- Mehta 1978)

Alexander Ognivstev sings Aleko's Cavatina from Rachmaninoff's Aleko (Russian film production)

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Monday, March 31, 2008

Today's Birthday in Music: March 31 (Haydn)

1732 - Josef Haydn, Rohrau, Austria; composer

Wiki entry
Facts & Information

Excerpt from Die Schöpfung (The Creation) (Natalie Dessay & Laurent Naouri: Collegium Vocale de Grand Ensemble Orchestral de Paris - Festival de Saint Denis, 2005)

Divertimento octet for baryton, two violins, viola, cello doublebass, and two horns in A major Hob X :33. Finale: Allegro

Cecilia Bartoli sings Haydn's cantata "Arianna a Naxos".

Deutschland uber Alles: The National Anthem of Germany was composed by Joseph Haydn. It is a part of his Kaiser Quartet

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Sunday, March 30, 2008

Save CBC Radio 2 Battle Heats Up

The battle to save CBC Radio 2 is heating up. In Saturday's Globe and Mail, the CBC took out a full page ad to defend its recent decision to change CBC Radio 2's programming (See the ad here). The Facebook Save Classical Music at the CBC group has responded by questioning where the CBC got the money ($30,000 according to Mary Soderstrom's blog) to take out an expensive ad when it claimed just days ago that due to lack of funds, they are cutting the CBC Radio Orchestra (See's spotlight for the news articles). The Facebook group's next action is to mount an email letter campaign from March 30 to 31st. See . Here is what they wrote including a list of cuts CBC has been making to its Radio over the last few years:

Here we go again, folks. It sure appears we've made our voices heard. Columnists in the major papers are taking note and taking sides. And the CBC execs themselves sense the threat to their schemes, taking out a full-page ad in the Saturday Globe in rebuttal to our criticism. We're going to keep the pressure up.

EVERYBODY: Write an email outlining your outrage over the changes happening to Radio Two. be as personal as you can. If you need inspiration, we've got a list of issues below, and many people have posted create feats of rhetorical splendour back at the Save Classical Music at the CBC site. Write your quick email tonight to Richard Stursberg and CC it to all the people we mention below plus any journalists you can think of. We expanding things this time to board members and members of parliament. Write you letter before the end of the day on Monday. Let's make another huge statement, folks!

LIST OF ISSUES AND EMAIL ADDRESSES (Thanks to Margaret Logan for compiling all this!)

1. The CBC Young Composers Competition has not been held since March 9, 2003. It, as well as the CBC Young Performers Competition, have been suspended for the past four years. The Canada Council provided the funding for the $10,000.00 grand prize.
2. CBC erased the classical music budget for CBC Records in February 2008, precisely on the eve of their first Grammy win by Canadian violinist James Ehnes and the Vancouver Symphony Orchestra under Bramwell Tovey on the CBC Records label. Many artists, such as Measha Brueggergosman, launched their careers on a CBC Records label recording.
3. The commissioning budget previously devoted to commissioning new works from composers is now spread out to cover jazz, pop musicians, and some unspecified amount of contemporary music.
4. CBC cancelled Two New Hours, a multiple-award winning program that was aired for two hours a week in the incredibly prime time slot of Sundays 10pm to midnight. This program was dedicated to the music of living Canadian composers. It was cancelled in March 2007 in its 29th year.
5. CBC cancelled The Arts Report. The late Val Ross, an arts columnist for The Globe and Mail, lamented the loss of this particular radio segment, saying that it kept her in touch with important cultural developments across the country.
6. CBC cancelled Music For A While, which aired classical music daily from 6pm to 8pm. It has been replaced by Tonic, a jazz program which also features hip-hop, soul and world music.
7. CBC cancelled In Performance the flagship Classical concerts program. It was replaced by Canada Live, which has an uneven and unpredictable offering of funk and R and B bands, jazz, Middle eastern fusion music, throatsinging...
8. The proposed cuts for the Fall of 2008 represents further reductions in classical music content, eliminating classical music 6am to 10am and 3pm to 6pm.
9. The new hosts are not musicologists and have little depth of knowledge to share with radio listeners. Howard Dyck, for example, who is no longer hosting Saturday Afternoon at the Opera, is an Order of Canada recipient, a conductor and the recipient of numerous honourary degrees for his contribution to music in Canada. See Larry Lake, former host of Two New Hours, is a Toronto composer, performer and broadcaster. He is Artistic Director of the Canadian Electronic Ensemble, the oldest active live electronic music group in the world, now in its 35th season. Other hosts whose, such as Tom Allen, Eric Friesen, Rick Phillips are also giants in the field of music broadcasting.
10. The axing of the CBC Radio Orchestra: North America's 70 year old last remaining radio orchestra and platform for countless premieres of new Canadian compositions
11. Gone are Music & Company - Tom Allen's morning show, Here's to You - Catherine Belyea's (Formerly Shelley Solmes') all-request show, Studio Sparks - due to the venerable Eric Friesen's "retirement", and Disc Drive - Jurgen Gothe's popular drive-home show after almost 30 years. These changes come on the heels of last years round of cuts to vital programs such as Danielle Charbonneau's much-loved Music for Awhile; Larry Lake's new composer showcase Two New Hours; Symphony Hall - Canada's live orchestra recording showcase; The Singer and the Song - Catherine Belyea's excellent Classical vocal program; Northern Lights - the overnight Classical program beloved by Night Owls everywhere; The reformatting of In Performance- a primarily classical live performance show into the much-reviled Canada Live - a uniformly non-classical and completely unfocused hodge-podge of World music, soft pop, and sort-of Jazz; and the controversial replacement of veteran Howard Dyck from Saturday Afternoon at the Opera after many years of great service.
12. The CBC axing the Radio Orchestra one day citing lack of resources, and the next day buying hugely expensive full-page ad in the Globe and Mail to convince us how wonderful everything is going to be in their Brave New World.

Send your letter to Richard Stursberg, head of English services at CBC, condeming any of the issues above, or, preferably, one of your own. Demand his resignation for single-handedly destroying 70 years of a carefully evolved musical ecology at CBC Radio 2.

cc: ALL the following individuals:
1. CBC President Hubert Lacroix
2. CBC board chairman Timothy Casgrain through his assistant Kathleen Martin
3.. Board members Peter Herrndorf
4. and Trina McQueen
5. Stursberg's Executive Assistant, Cathy Katrib-Reyes KatribC@CBC.CA
6. Lacroix`s Chief of Staff Francine Letourneau
7. Exec in charge of CBC Radio, Jennifer McGuire or
8. Radio 2 Programming chief or
9. Peter Steinmetz, Chair of the Canadian Songwriters Hall of Fame
10. Josee Verner, Minister of Heritage
11. Prime Minister Stephen Harper
12. Liberal Heritage critic Mauril Bélanger
13. NDP Heritage critic Charlie Angus
14. The major newspaper journalist of your choice - local is best!

Cc: KatribC@CBC.CA;;;;;;;,;;;;;;

Note! Your email client may require commas rather than semi-colons.

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Today's Birthday in Music: March 30 (Traetta)

1727 - Tommaso Traetta, Bitonto, Italy; composer

Wiki entry

Anna Bonitatibus sings "Di quest'aura" from Traetta's opera Armida

Excerpt from Treatta's opera Antigona (Théâtre du Châtelet, Paris, June 2004)

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