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The Toronto Symphony Orchestra Presents the Mozart @ 261 Festival: ‘Magnificent Mozart’ (Wednesday January 11 – Thursday January 12, 2017) at Koerner Hall

‘Magnificent Mozart! Violinist Kerson Leong and pianist Leonid Nediak join us to open another celebration of the music of this most timeless of composers.

Mozart was a singularity, the ideal talent in the ideal time and place, the final and greatest Classicist, the last composer who worked at perfecting a style rather than changing it. Symphony No. 40 in G minor is one of his most fascinating and appealing works. He rarely used the minor key, and when he did, the effect is striking—turbulence mixed with lyricism. This is an extremely dramatic and atmospheric work. Mozart himself considered the Piano Concerto in B-flat to be quite difficult, but this is truly a giant at the height of his powers. If you hear him foreshadowing Beethoven in this great concerto, you are not imagining it. In contrast, the lovely Rondo in C for violin is one of his most gracious and polished works, a perfect example of everything we associate with his style.’

Peter Oundjian

Music Director

Introducing Kerson Leong and pianist Leonid Nediak!

Kerson Leong: Violinist

Kerson Leong made his TSO début in June 2013. Acclaimed by musicians and audiences alike for his commanding stage presence, magnificent tone, and musical integrity, Canadian violinist Kerson Leong is quickly establishing himself at the forefront of his generation since gaining international recognition by winning Junior First Prize at the Menuhin Competition in 2010. He has performed at such venues as Wigmore Hall and l’Auditorium du Louvre, as well as with such ensembles as the Oslo Philharmonic, Vienna Chamber Orchestra, the Gulbenkian Orchestra, I Solisti Veneti, Toronto Symphony Orchestra, Orchestre symphonique de Montréal, Orchestre symphonique de Québec, Orchestre Métropolitain, and the National Arts Centre Orchestra of Canada.

Notable highlights in 2016 were his world and Australian premières and subsequent CD recording of Visions, a new work for violin, boys choir, and string orchestra written for him by John Rutter.

Kerson is currently an Artist-in-Residence at the Queen Elisabeth Music Chapel in Belgium, mentored by Augustin Dumay. He gratefully acknowledges the support received from the Sylva Gelber Music Foundation Award 2016. He performs on a c. 1728–1730

Guarneri del Gesù, courtesy of Canimex Inc., Drummondville (Québec), Canada.

Leonid Nediak: Pianist

These performances mark Leonid Nediak’s TSO début. Known for his originality and captivating playing, 13-year-old pianist Leonid Nediak has been awarded many prestigious awards, including the Grand Prize in the Canadian National Composition Competition (CFMTA 2016), second place and the audience prize in the Cleveland International Piano Competition 2015, and the Grand Prize twice at the Canadian Music Competition in 2013 and 2014. In 2015, Leonid was selected as the youngest of the “30 Hot Canadian Classical Musicians under 30”. Leonid has performed with orchestras such as the Orchestre symphonique de Montréal, Orchestre symphonique de Québec, and the Canton Symphony Orchestra in the US, and he has given numerous solo recitals in Canada, the US, and Russia.

Leonid has studied piano with Michael Berkovsky and Ilya Itin. He is currently a full scholarship student at The Royal Conservatory’s Taylor Young Artists Academy in Toronto under the tutelage of James Anagnoson. He has been studying composition with John Burge since 2013. Leonid also enjoys computer science and math and he has won numerous prizes in national math and computer science competitions.


Holiday Stocking Stuffer: Toronto Symphony Orchestra’s ‘Messiah’ (Sunday December 18 – Friday December 23, 2016)

‘Handel’s Messiah is one of the great traditions of the season. Somehow, this time of year makes traditions seem even more significant. It is a turning point in the year—by the calendar, it is the time when the days cease to grow darker and begin to grow lighter with the promise of spring a few months away, and this great work is a perfect way to celebrate. Messiah was written to celebrate faith, but it is first and foremost a work of music, not of philosophy or religion. Great melodies transcend any divisiveness among people, making us one, voices united. Handel has achieved something remarkable in this wondrous music: it overcomes time and language, and links the past and the future. Simultaneously pious and joyous, it is music that is both old and still new, still able to communicate to contemporary audiences. Nicholas McGegan returns to the TSO with this wonderful celebration, and he is joined by four outstanding soloists and the ever popular Toronto Mendelssohn Choir.’

Peter Oundjian

Music Director


Review: Toronto Symphony Orchestra: ‘A Jann Arden Christmas’

‘The holiday season is such a wonderful time for music—we hear everywhere during this period of the year some of the finest classical music written for the occasion as well as inspiring traditional carols and tuneful popular classics. The brilliant, multi-talented Canadian artist Jann Arden recently recorded her take on the season’s most beloved songs and I’m thrilled to have her perform them in her début with your Toronto Symphony Orchestra! The beautiful voices of the Etobicoke School of the Arts Holiday Chorus also join us for this performance, and you, too, will have the chance to contribute to this Christmas soundscape in our annual sing-along. May this concert of holiday music warm your hearts and get you in the holiday spirit!’

Steven Reineke

Principal Pops Conductor


Elegant, sexy and savvy. The Toronto Symphony was in top form last night.  We were ready to be ‘sleighed’ with holiday anthems.  Add the likes of the Etobicoke School of the Arts Holiday Chorus and the incomparable Jann Arden, whom brought the house down within seconds of taking the stage.

The evening was robust with songs like ‘The Best Christmas of All’, ‘Winter Wonderland’ and ‘It’s the Most Wonderful Time of the Year.’ The audience caroled using carol sheets in their TSO Program book, the air was filled with warmth and fairy lights and the mood was festive and jovial.

When Arden took the stage with her cheeky humour on show and her voice in all its abundance ready to tear the walls down in Roy Thomson Hall, the audience was warmed up and ready for her.   She gifted the audience with songs from her song catalogue including of ‘Insensitive’ and ‘Waiting for Canada’.  The Canadian flag’s poppy red colour was emblazoned on Arden’s gorgeous chiffon dress and bejeweled gown.  We were on the same page.

After the intermission the Toronto Symphony gave us ‘Carol of the Bells’ from Mykola Leontovych/arr. David Hamilton and ‘“We Need A Little Christmas” from Mame’ from Jerry Herman/arr. Robert Wendel. Perhaps not all that well known but beautifully positioned in the evening.  TSO did a wonderful job playing the audience old standards, blues, folk and pop songs.  It was an evening for everyone.  The audience was satiated, ready to learn, have a giggle and most importantly have a great time.

Arden had many intimate moments with the audience last night. She spoke of road stories, her writing process, sweet comments to orchestra members and a rawness only she can pull off in a space as prestigious as Roy Thomson Hall.

She created a gorgeous space between her and her fans last night when she spoke of her collaboration with Bob Foster on ‘Good Mother’. Arden spoke of scribbling notes in the lining of a cigarette liner and how she wanted to create an ode to her parents.  The moment felt like she was whispering her narrative to every member of the audience singularly.  Intimate, emotional, generous and fraught with pain.  As the Toronto Symphony Orchestra started to play the opening bars of ‘Good Mother’ the audience sighed a sigh full of anticipation, Kleenex were at the ready, men sat up straighter in their seats and other’s leaned forward.  The Toronto Symphony Orchestra illumined ‘Good Mother’.  It took the audience to another level of loving Arden’s music and winning us over with TSO’s gorgeous arrangement.  People wept, some stood up and cheered.  The festive love embraced us as the song concluded.

The night could not be complete without an appearance by Jolly Saint Nick who ‘ho, ho ho’d’ down the aisles and then helped in leading the audience with a ‘The Jingle, Jangle Sing-along’. It was upbeat and fun.  What better way to warm up our voices by busting them out into the holiday season with the professional help of TSO?

The Etobicoke School of the Arts Chorus is comprised of the Grades 11 and 12 music theatre classes at the Etobicoke School of the Arts (ESA). The music theatre department, headed by Paul Aikins, is one of six majors offered at ESA, which is the oldest free-standing arts-focused high school in Canada. Their contribution was boisterous, electric and punctuated the evening’s program with a lightness that can only be captured by the talented voices of these youngsters.

As Arden said last night, ‘Music is the fabric of life’. It’s true.  The evening delivered was joyous, a true respite from work drama and encouraging in the colours of red, green and gold of the holiday season into the fabric of our lives in the present.  Music as performed by the likes of the Toronto Symphony Orchestra and Jann Arden is to be inhaled and exhaled and perhaps even channelled into 2017 as we move ahead into the next year of our collective lives.


Holiday Stocking Stuffer: The Twelve Days of Christmas with the Toronto Symphony Orchestra – December 9 & 11, 2016

The malls maybe busy and we maybe run off our feet on our weekends – what better time is it to carve out some much needed early family and friends time before the holiday rush kicks in?

I encourage you to pick up tickets to the Toronto Symphony Orchestra’s ‘The Twelve Days of Christmas’. It is truly an event for the whole family.

On the first day of Christmas my true love gave to me…a festive family concert! Sing along with your favourite carols and songs as part of The Twelve Days of Christmas—a hilarious live-action pageant, narrated by Canadian actor and improv comedian Colin Mochrie, that will have you rolling on the floor with laughter. If it isn’t already, the TSO’s annual family Christmas concert is sure to become your new holiday tradition!

These concerts feature the Toronto Symphony Orchestra under the direction of conductor Earl Lee, with the Highland Creek Pipe Band, Resonance Youth Choir and Tha Spot Holiday Dancers.


JAMES STEPHENSON: Holiday Overture

MOZART/arr. Aubrey Winter: Allegro from Toy Symphony in C major

STEVEN REINEKE: “It’s the Most Wonderful Time of the Year”

LUCAS RICHMAN: Hannukah Festival Overture


JOHN RUTTER: Candlelight Carol

TRADITIONAL/arr. Mitch Clarke: Frosty the Snowman

TCHAIKOVSKY: “Dance of the Sugar Plum Fairy” from The Nutcracker

TCHAIKOVSKY: Trépak from The Nutcracker

ANDERSON: Sleigh Ride

DELVYN CASE: Rocket Sleigh

RICHARD HAYMAN: The Twelve Days of Christmas

FINNEGAN, PLOYHAR, LUCK: Rudolph’s Christmas Medley

Tickets can still be purchased and they are reasonably priced at $26! True stocking stuffer pricing that will keep your wallet happy as well as you and your loved ones.


Review: Toronto Symphony Orchestra’s ‘The Lord of the Rings: The Fellowship of the Ring in Concert’

The Lord of the Rings: The Fellowship of the Ring Original Score composed by Howard Shore Composer Howard Shore brings J.R.R. Tolkien’s literary imagination to vivid life with his Academy® and GRAMMY® Award–winning score to The Lord of the Rings: The Fellowship of the Ring.  By the way, Howard Shore is Canadian!

Shore’s music expresses Peter Jackson’s film as an immense symphonic work—a uniquely developed vision drawn from centuries of stylistic tendencies. The music of The Lord of the Rings is counted among film music’s most complex and comprehensive works. This unique performance sets the score to the film, but allows the music to bear the narrative weight, creating a wholly new and dramatic live concert experience.

Shore’s score not only captures Fellowship’s sweeping emotion, thrilling vistas, and grand journeys, but also echoes the very construction of Tolkien’s Middle-earth.    Styles, instruments, and performers collected from around the world provide each of Tolkien’s cultures with a unique musical imprint. The rural and simple hobbits are rooted in a dulcet weave of Celtic tones.  The mystical Elves merit ethereal Eastern colours.

The Dwarves, Tolkien’s abrasive stonecutters, receive columns of parallel harmonies and a rough, guttural male chorus. The industrialized hordes of Orcs claim Shore’s most violent and percussive sounds, including Japanese taiko drums, metal bell plates and chains beaten upon piano wires, while the world of Men, flawed yet noble heirs of Middle-earth, is introduced with stern and searching brass figures. In operatic fashion, these musical worlds commingle, sometimes combining forces for a culminated power, other times violently clashing…and always bending to the will of the One Ring and its own ominous family of themes.

The music’s vast scope calls for symphony orchestra, mixed chorus, children’s chorus, and instrumental and vocal soloists singing in the Tolkien-crafted languages Quenya, Sindarin, Khuzdul, Adûnaic, Black Speech, as well as English. Original folk songs stand alongside diatonic hymns, knots of polyphony, complex tone clusters, and seething, dissonant aleatoric passages. It is purposeful, knowing writing, as contained in execution as it is far-reaching in influence; for within this broad framework resides a remarkably concise musical vision.

Shore’s writing assumes an earthy, grounded tone built on sturdy orchestral structures and a sense of line that is at once fluid yet stripped of frivolous ornamentation.

Says Howard Shore, “This is the first time that the complete score to The Fellowship of the Ring will be performed live to projection in Toronto. My first score for The Lord of the Rings trilogy, The Fellowship of the Ring, was the beginning of my journey into the world of Tolkien and I will always hold a special fondness for the music and the experience.”

—Doug Adams is a Chicago-based musician and writer. He is the author of the book The Music of the Lord of the Rings Films.


“All we have to decide is what to do with the time that is given us.”

― J.R.R. Tolkien, The Fellowship of the Ring

It was pretty fitting that we took in the Toronto Symphony Orchestra’s ‘The Lord of the Rings: The Fellowship of the Ring in Concert’ last night as the end of the year creeps towards us. The 3 night sold out performance captured Howard Shore Academy Award ®– Winning Score at its essence and perfectly ‘lit’ the Roy Thomson Hall space with a musical respite from the damp weather outside.

There was a definite excited energy in the air as we took our seats above Roy Thomson Hall. We had a perfect view.  The space was filled and there were a few die heard fans in full Arwen gear in front of us.  We made sure to pick up our cocktails and popcorn prior to the performance.   It’s great that the Toronto Symphony Orchestra encourages guests to indulge on treats from the concession stand for evening performances.  It is a truly cultural experience watching a film and having the Toronto Symphony Orchestra’s musical wares wash over you.

The nuances that Conductor, Ludwig Wicki, brought to the table last night amplified every note that may have gotten lost as we watched ‘The Lord of the Rings: The Fellowship of the Ring’ on the big screen in the past.  From the lovely Kaitlyn Lusk’s soprano solos and the Canadian Children Opera Company’s subtle but eloquent odes to the landscapes and intimate scenes between characters – the emotion was at its height last night.  There were tears, laughter, sighs of relief and ‘yes!’ in unison but the audience members.   We were in union last night.  Alastair Thorburn-Vitols the boy soprano was gentle in his intent with his performance but he was sure to provide the goose bump texture for the evening.   The evening was rich, diverse and beautifully curated.

The Toronto Mendelssohn Choir’s deep bass made us cringe at numerous points throughout the performance. In those moments we constantly were made aware that the collective group of musicians, conductor and singers are true athletes.  A three hour performance with one intermission – we felt emotionally and physically raw.  Sure, these musicians are professionals – but how do they do it?  Not only were they able to evoke, provoke and keep up with a consistent momentum and still ‘slay’ us – they did it with joy, verve and it was gobsmackingly good.  The audience repaid the musicians with an epic prolonged standing ovation which was well deserved.

Music from the soundtrack that we visited in our travels together with the Toronto Symphony Orchestra in the Shire and abroad included of:


Prologue: One Ring To Rule Them All

The Shire

Bag End

Very Old Friends

Farewell Dear Bilbo

Keep It Secret, Keep It Safe

A Conspiracy Unmasked

Three is Company

Saruman the White

A Shortcut to Mushrooms


The Nazgûl


The Caverns of Isengard

Give Up the Halfling



The Sword That Was Broken

The Council of Elrond Assembles

The Great Eye



The Pass of Caradhras

The Doors of Durin



Balin’s Tomb


Caras Galadhon

The Mirror of Galadriel

The Fighting Uruk-hai

Parth Galen

The Departure of Boromir

The Road Goes Ever On…

The Toronto Symphony Orchestra is definitely on to something here.   Last night was an excellent example of the Toronto Symphony Orchestra not only illuminating the beauty of Howard Shore’s score but also raising the bar on entertainment in the city of Toronto.  The audience lay in awe as we left Roy Thomson Hall last night and brimming with gratitude for an art that is hardly fading thanks to the Toronto Symphony Orchestra’s efforts and gracious talent.


Toronto Symphony Orchestra: Pop-Up Shop at Roy Thomson Hall


On Saturday October 8, 2016 the Toronto Symphony is launching their very first TSO Pop-Up Shop at Roy Thomson Hall.

Items you should think of picking up just in time for holiday shopping season are hot off the press!

First of, TSO has collaborated with Toronto street artist ANSER to bring a Beethoven Collection limited-edition black shirt. It’ll be on sale before the concert and during the Beethoven & Tchaikovsky performance intermission on Saturday October 8, 2016. If you don’t have your tickets yet – get on it soon!  https://www.tso.ca/concert/beethoven-tchaikovsky

If you are not coming to Beethoven & Tchaikovsky – t-shirts will be available to purchase online starting on Saturday October 8, 2016.

While you are at it, pick up the Toronto Symphony Listening Guide, which has been bringing the TSO international attention. Voila, https://www.creativereview.co.uk/how-the-toronto-symphony-orchestra-uses-graphic-design-to-guide-its-audiences-though-its-music/.

The TSO Listening Guide has been shortlisted for a data visualization award from “Information is Beautiful”, which is based in London, England. The awards were founded by David McCandless – http://www.informationisbeautiful.net/about/

The list is now out for public voting. Here’s the link: http://www.informationisbeautifulawards.com/showcase/1322-toronto-symphony-orchestra-listening-guide

Bravo to the Toronto Symphony for blending classical music into street culture. Let’s keep classical music alive for generations to come!



Toronto Symphony Orchestra Ticket Giveaway: ‘What Makes It Great?® Dvořák Symphony 8’

Spring has finally sprung in Toronto! What better time is it then to get out there and enjoy what makes the Toronto Symphony Orchestra great!

Through the ever-popular What Makes It Great?® series, engaging classical music expert, conductor, and host Rob Kapilow offers tips on what to listen for and looks at the intricacies of a variety of works. On May 19, for the final concert in the series, Czech composer Antonín Dvořák’s Symphony No. 8 is examined during the first half of the evening. Following intermission, the audience is treated to a full performance of this timeless, warm-hearted piece with fresh insight and perspective.

Thank you to our friends at the Toronto Symphony Orchestra for gifting Thirty Four Flavours with a pair of ‘What Makes It Great?® Dvořák Symphony 8’ tickets!

What are the rules when entering the Thirty Four Flavours and Toronto Symphony Orchestra Ticket Giveaway?

Simple! Please sign up to Thirty Four Flavours Facebook https://www.facebook.com/thirtyfourflavours, Twitter https://twitter.com/34flavours, or email subscription to enter the draw. When you have signed up please send me a Facebook message, a tweet or email (thirtyfourflavours@gmail.com) telling me you why you want to win ‘What Makes It Great?® Dvořák Symphony 8’ tickets. By the way, stay tuned I have more tickets to TSO to giveaway in the weeks ahead!

Deadline for the Thirty Four Flavours and Toronto Symphony Orchestra Ticket Giveaway is Wednesday May 18, 2016.

Here’s the scoop!

What Makes It Great?® Dvořák Symphony 8

Thursday, May 19 at 7:30pm

Rob Kapilow, conductor & host

Dvořák: Symphony No. 8

TICKETS: $34.75–$83.75

Twitter: @TorontoSymphony

Facebook: facebook.com/torontosymphonyorchestra

YouTube: youtube.com/torontosymphony

Instagram: instagram.com/torontosymphony

About the TSO: Founded in 1922, the Toronto Symphony Orchestra is one of Canada’s most important cultural institutions, recognized internationally. Music Director Peter Oundjian leads the TSO with a commitment to innovative programming and audience development through a broad range of performances that showcase the exceptional talents of the Orchestra along with a roster of distinguished guest artists and conductors. The TSO also serves the larger community with TSOUNDCHECK, the original under-35 ticket program; the Toronto Symphony Youth Orchestra; and music-education programs that reach tens of thousands of students each year.

Review: TSO’s 12th Annual New Creations Festival ‘Knocking at the Hellgate’ (March 12, 2016)


The Toronto Symphony Orchestra (TSO) curated the TSO’s 12th Annual New Creations Festival which was avant-garde and infused with the best contemporary music in Toronto this March. Revered Australian composer, conductor, and violist Brett Dean joined festival conductor and host Peter Oundjian created diverse, powerful and swoon worthy programming.

Packed with Premières (World, North American, and Canadian), many of which are TSO Commissions, the New Creations Festival features original, intriguing music by Canadian composers Kevin Lau, Paul Frehner, and Skratch Bastid, as well as works by György Kurtág (Hungary), Anthony Pateras (Australia), James Ledger (Australia), Jonny Greenwood (UK) of Radiohead fame, and of course, Brett Dean. Guest artists include Toronto’s Afiara Quartet, baritone Russell Braun, DJ Skratch Bastid, filmmaker Peter Mettler, and Swedish trumpet virtuoso Håkan Hardenberger. To round out the festival, Toronto composer Abigail Richardson-Schulte curated an array of ancillary events such as pre-concert performances, a forum presented in collaboration with the Canadian Music Centre, and post-concert parties.

Brett Dean presented last night’s ‘Knocking at the Hellgate’—a vocal/instrumental suite of excerpts from his forceful, surreal, and highly praised 2010 opera, Bliss, starring baritone Russell Braun. The evening included Water, a tender and dynamic piece by Jonny Greenwood of the iconic English rock group, Radiohead, which adds a tambura (an East Indian instrument), to the Orchestra. As an ear-opening final bonus, DJ Skratch Bastid created a remix of music from the festival.

‘Water was commissioned by the Australian Chamber Orchestra, who worked closely with Greenwood to develop a taut and nuanced work employing a unique instrumentation. The work is scored for two flutes, amplified upright piano, chamber organ, string orchestra, and one or two tanpuras. The inclusion of the tanpura, a traditional Indian drone instrument, came as a result of Tognetti’s initial desire for Greenwood to employ electronics alongside the orchestra. Throughout the work, Greenwood manages to incorporate the tanpura in unique and surprising ways.

Greenwood established himself as a significant compositional force with his award-winning score for the 2007 film There Will Be Blood. In 2012, Greenwood created the Suite from There Will be Blood, scored for string orchestra with ondes martenot. This arrangement has since received numerous performances around the world, including one this month by the Colorado Symphony Orchestra. The performance, under the direction of Scott O’Neil, takes place on April 25 at Boettcher Concert Hall in Denver.’ (Excerpt from https://www.eamdc.com/news/us-premiere-of-jonny-greenwoods-water-with-australian-chamber-orchestra/).

Greenwood’s ‘Water’ was a wonderful ode to Philip Larkin’s poem of the same name.


If I were called in

To construct a religion

I should make use of water.


Going to church

Would entail a fording

To dry, different clothes;


My liturgy would employ

Images of sousing,

A furious devout drench,


And I should raise in the east

A glass of water

Where any-angled light

Would congregate endlessly.

Greenwood’s meditative piece enhanced Larkin’s poem with the addition of the tanpura. The tanpura’s soft tones effortlessly melted alongside the chamber orchestra.  One couldn’t help but envision observing a body of water on a sunny day with its ripples and then those polar opposite quiet but disastrous moments in a storm.  These themes floated alongside Larkin’s poetic intention.  We see how the glimmer of water is used as a form of a cleansing ritual in religion, the importance of practicing faith in the present and the transcendent power of water as a life force seen within one’s own healing, growth and empowerment through faith.

As we transitioned from ‘Water’ into ‘Knocking at the Hellgate’ we felt the pangs of emotion, discontent and movement from one stage of light into a chapter of darkness.

Skratch Bastid’s custom summary of TSO’s 12th annual New Creations Festival was pure decadence and gave the audience a break from the intensity of the evening. It seemed like everyone was waiting for him to take centre stage with his kit.  His piece was a testament to the TSO taking the Company not only in a modern direction but creating a sense of inclusion for the next generation of music enthusiasts.  Skratch took bits and pieces from the festival’s rehearsals and stitched them into a breakbeat essay that not only demonstrated the beautifully curated scope of the festival but honoured the musicians work at its classical core.  I encourage TSO instead of giving Skratch Bastid five minutes to give him an hour in the years ahead.  It’s time.

Please continue to check out other wonderful programming at TSO in 2016. They are changing the game for classical music in ‘the city’.

Twitter: @TorontoSymphony

Facebook: facebook.com/torontosymphonyorchestra

YouTube: youtube.com/torontosymphony

Instagram: instagram.com/torontosymphony


‘Psycho’ at the Toronto Symphony Orchestra (October 31, 2015)

This year for Halloween it was all about doing something different but keeping it low key. When we heard that the Toronto Symphony Orchestra would be showcasing Alfred Hitchcock’s supreme suspense thriller ‘Psycho’ – we knew we needed to be a part of it!

Every spine-tingling scene is made more vivid, more bone-chilling by having Bernard Herrmann’s iconic string-orchestra score played live to the film by the superlative artists of the Toronto Symphony Orchestra.

Trish Crawford from The Toronto Star stated in her article dated Sept 22, 2015 (http://www.thestar.com/authors.crawford_trish.html)  Conductor, Constantine Kitsopoulos ‘has conducted many Psycho concerts in recent years as live orchestra with film “is a growing symphonic trend,” he says, and a way bring people into concert halls.

He also has conducted orchestras for An American in Paris, The Wizard of Oz, Singing in the Rain, Home Alone, Star Trek and a compendium of Hitchcock films, including Dial M for Murder, North by Northwest and Strangers on a Train.

Using two screens beside his podium, Kitsopoulos watches the movie on one side and a synchronized timing device on the other. This tells him when to pause and cues him 30 seconds before a new section of music.

Unlike today, when the composer is the last one brought into the project, Herrmann composed early and, in some cases, Hitchcock cut the film to match his score, says Kitsopoulos.’

There is nothing like watching ‘Psycho’ on a big screen in the gorgeous Roy Thomson Hall and having a pop up experience of the strings accenting the shower murder scene in real time. As we glanced around the audience to take in the audience reaction – there wasn’t a soul in the Hall that wasn’t horrified.

The Toronto Symphony Orchestra is onto something here. Next stop, hopefully ‘The Birds’, ‘North by Northwest’ and ‘Vertigo’.  Pretty please.