The Theatre of Early Music Le Theatre of Early Music (Choeur et Orchestre), fondé par son chef et directeur artistique Daniel Taylor, est un ensemble de musiciens parmi les plus recherchés interprétant des chefs-d’oeuvre souvent négligés de plus de quatre siècles du répertoire de musique vocale et instrumentale. Ses concerts, comprenant de saisissants programmes a cappella, proposent des esthétiques et des pratiques d’autres époques qui viennent nourrir des reconstructions inspirantes, provocantes, et passionnées de musique écrite pour des évènements historiques ainsi que d’oeuvres majeures de la tradition de l’oratorio. Avec Daniel Taylor, le Choeur et l’Orchestre du TEM sont les nouveaux invités des plus grands festivals du monde et des salles de concert les plus renommées et bâtissent une discographie des plus passionnantes en partenariat avec Sony Classical Masterworks. Biographie complète Le TEM vous convie à des concerts à travers le Canada - Montréal, Ottawa, Victoria, Edmonton, Winnipeg, Lac St Jean et Barrie - ainsi qu’aux États-Unis, en tournée dans les villes de Seattle, Santa Monica, San Diego et Los Angeles.

Actualités Sony Classical Masterworks est fière d’annoncer la mise sous contrat exclusive de Daniel Taylor.... En plus IMG Artists est fier d’annoncer la mise sous contrat de Daniel Taylor et des Choeur et Orchestre du Theatre of Early Music.... En plus Doublez votre don aujourd’hui grâce à la campagne "Placements Culture" du TEM !......En plus TEM tournée à travers l’Amérique du Nord: Didon et Énée.....En plus TEM avec "Daniel Taylor et Deborah York interprètent Handel à la perfection " - Carnegie Hall nov 2011......Voici quelques critiques Concert très bien reçu par les délégués du International Congress of Human Genetics ......En plus

 

 

Bienvenue dans le monde du Theatre of Early Music

Le Choeur et l’Orchestre du Theatre of Early Music (TEM) enregistrent exclusivement pour Sony Classical Masterworks.

Le Choeur et l’Orchestre du TEM sont composés des meilleurs musiciens de notre époque, partageant une passion toute particulière pour la musique ancienne. L’ensemble s’est formé autour de l’aspiration commune des instrumentistes et des chanteurs à trouver des occasions de laisser la dévotion et le dévouement pénétrer au coeur même du processus créatif.

Basé au Canada, le TEM est au départ formé de jeunes musiciens dont le style distinctif, joint à l’expertise et l’enthousiasme de Daniel Taylor, conduit à des lectures captivantes d’oeuvres magnifiques mais souvent négligées.

En formations diverses, les musiciens les plus réputés de ce domaine profitent de la tribune offerte par le Choeur et l’Orchestre du TEM pour se produire lors des séries régulières de concerts dirigées par Daniel Taylor à Montréal, Ottawa et Toronto, lors de tournées internationales, et pour faire des enregistrements. Le TEM donne une trentaine de concerts par année, s’étant récemment produit en France, en Argentine, au Brésil, en Angleterre et en Chine. Au calendrier 2010-2011: des concerts en Europe, aux États-Unis, en Asie et en Amérique du Sud.

Les artistes invités du TEM incluent Dame Emma Kirkby, Deborah York, Suzie Leblanc, Karina Gauvin, Nancy Argenta, Carolyn Sampson, Charles Daniels, James Gilchrist, Benjamin Butterfield, Michiel Schrey, James Bowman, Robin Blaze, Michael Chance, Peter Harvey, Stephen Varcoe, Michael George, Daniel Lichti et Alexander Dobson. Au Canada, le TEM est peut-être mieux connu pour ses interprétation des oeuvres de Bach et de ses contemporains; notamment des oeuvres chorales de Kuhnau, Tunder, Bruhns et des premières cantates de Bach.

Le premier enregistrement du TEM sous étiquette BIS, Leçons de Ténèbres de Couperin, avec Taylor et Blaze, est paru en 2005. Les critiques furent très élogieuses : "Beauty of this recording bows to no other (la beauté de cet enregistrement ne s’incline devant nulle autre)." Ce disque acclamé a été suivi de l’enregistrement d’un programme original d’oeuvres de la Renaissance, Love Bade Me Welcome, paru sous étiquette BIS en février 2006 et mettant en valeur l’acteur Ralph Fiennes récitant de la poésie de même que des duos des contre-ténors James Bowman et Daniel Taylor. Les critiques ont unanimement louangé "the legendary countertenor James Bowman in magical duets with the remarkable young star Daniel Taylor (le légendaire contre-ténor James Bowman dans des duos magiques avec la remarquable jeune étoile, Daniel Taylor)." En 2009, le TEM a aussi fait paraître sous étiquette BIS le Stabat Mater de Vivaldi qui sera suivi prochainement de l’enregistrement du Stabat Mater de Pergolesi avec Dame Emma Kirkby et Daniel Taylor.

Theatre of Early Music (Choeur et Orchestre), sous la direction de Daniel Taylor, enregistre maintenant exclusivement pour Sony Classical Masterworks. Son premier disque sur étiquette Sony, The Voice of Bach, a été chaudement salué dans Gramophone Magazine : "serious music-making of the highest order (une solide production musicale de tout premier ordre)". Il a reçu 5 étoiles de BBC Music Magazine, 5 étoiles de Classic Music CD, a été présenté dans le cadre de l’émission "Desert Island Discs" de la BBC et acclamé à travers le monde, entre autres dans le Times (Londres), le Globe and Mail (Toronto), le New York Times, le Guardian (Londres) et La Scena Musicale (Montréal).

Le Theatre of Early Music est motivé par le désir de communiquer à la fois le texte et la musique à notre auditoire. L’ensemble explore les profondeurs et la substance de cette littérature chorale et instrumentale en partageant ses idées et sa passion. L’aspect clef de l’approche du Theatre of Early Music est la quête de révélation : tout comme le monde moderne a restauré les grandes fresques de Michel-Ange dans la Chapelle Sixtine, le TEM a espoir de révéler la beauté originale d’oeuvres musicales anciennes. En cela, les musiciens de l’ensemble souhaitent comprendre, communiquer et célébrer cette musique inspirante.

Le TEM est devenu une organisation sans but lucratif en 2002 et un organisme de bienfaisance en 2004. L’ensemble continue d’apprécier les contributions généreuses des mélomanes à travers le Canada. Votre appui continu est un privilège et un honneur.

Festival des musiques sacrées de Québec.
“Le public du Festival des musiques sacrées flottait comme sur un nuage à la sortie du concert d’ouverture offert par le contre-ténor Daniel Taylor et son choeur du Theatre of Early Music. Imaginez. Avant la pause, au contact de la pureté angélique de cette vingtaine de voix, certains avaient déjà versé quelques larmes de joie.
Le mélange de ces timbres droits et légers conserve une texture lisse et à l’occasion véritablement onctueuse. Le texte est soutenu et accentué dans le respect de la musique de la langue.
Daniel Taylor dirige comme il chante, c’est-à-dire de façon détendue et avec un minimum de gestes. Le mouvement d’ensemble n’en est que plus souple, plus paisible. En exécutant quelques courts solos à intervalles réguliers tout au long du concert, le chef-chanteur a réussi à installer une ambiance propice au repos, à la relaxation et à la méditation. En tout cas, la forme a semblé plaire et répondre parfaitement à ce que les gens sont venus chercher. “Path to Paradise” disait le titre du spectacle. Apparemment, plusieurs en ont trouvé la route. ”
Richard Boisvert, Le Soleil

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Sony Classical Masterworks est fière d’annoncer la mise sous contrat exclusive de Daniel Taylor.Sony Classical Masterworks, l’une des plus grandes étiquettes au monde, représente des musiciens parmi les plus prestigieux tels que Yo-Yo Ma, Andrea Bocelli et Joshua Bell. Sony Classical Masterworks est fière de s’associer avec l’un des plus grands noms du monde de la musique ancienne, le chanteur étoile du Canada, le contre-ténor Daniel Taylor. Alexander Cowan, directeur général du marketing pour Sony Masterworks International en Angleterre, commente: “Daniel Taylor est un artiste de classe internationale. Nous travaillons à compléter ses activités de tournées avec une série d’enregistrements afin de réaffirmer sa position comme l’un des contre-ténors les plus recherchés au monde.”

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IMG Artists Europe et Asie : IMG Artists, chef de file dans le domaine de la gestion d’artistes, est fier d’annoncer la mise sous contrat de Daniel Taylor et des Choeur et Orchestre du Theatre of Early Music. Avec un degré inégalé de talents en gestion et de talents artistiques, IMG s’engage à conquérir de nouveaux territoires dans le monde toujours changeant des arts de la scène. IMG Artists et Daniel Taylor sont heureux d’amorcer leur future collaboration. Daniel Taylor commente : “Je suis honoré d’avoir la chance de travailler avec cette brillante équipe de gestion qui va complémenter notre travail avec les agents locaux d’Amérique du Sud, du Canada et de France.” IMG Artists est le chef de file dans le domaine de la gestion d’artiste, combinant les plus haut standards de gestion àune offre incomparable de services à sa clientèle. Avec des bureaux à New York, Los Angeles, Londres, Paris, Hanover, Lucca et Singapour, IMG Artists couvre une gamme de services internationaux incluant la gestion d’artistes et de tournées pour les meilleurs musiciens, compagnies de danse, orchestres et attractions en tout genre, de même que des services conseils pour des clients de marque, des établissements artistiques, des salles de concert et des corporations engagées dans la culture. Dynamique et ouvert, IMG Artists continue de solliciter des collaborations uniques et à oeuvrer à des initiatives de collaboration dans les années à venir.

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Doublez votre don aujourd’hui grâce à la campagne "Placements Culture" du TEM !

Le TEM est ravi d’annoncer que jusqu’au 30 mars 2012, chaque don de plus de 50$ sera égalé grâce à une subvention spéciale du Conseil des arts et des lettres du Québec.

Ceci constitue une opportunité en or pour le Theatre of Early Music ! Les revenus de billetterie ne peuvent couvrir le coût total de création, de production et de développement de nouveaux projets. En plus des subventions gouvernementales et de l’appui de fondations, nous devons donc aussi compter sur les dons de particuliers pour nous aider à créer de la musique extraordinaire qui touche nos coeurs, nourrit notre esprit et ultimement traverse le temps.

Voici pourquoi nous vous demandons aujourd’hui de considérer un don au Theatre of Early Music, afin de vous assurer que votre don soit égalé par le CALQ. Imaginez les possibilités : votre don ira deux fois plus loin !

Un reçu pour fin d’impôt sera disponible sur demande mais sera envoyé automatiquement pour les dons de 100$ ou plus.
De plus, recevez GRATUITEMENT une copie de notre CD le plus récent, "Come Again, Sweet Love", pour tout don de 75$ ou plus !
Les dons en ligne ne sont pas encore possibles, mais les chèques peuvent être envoyés à l’adresse ci-dessous :

Theatre of Early Music 336 Carré St-Louis Montréal QC H2X 1A5

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TEM tournée à travers l’Amérique du Nord: Didon et Énée

7 & 8 février à 19h30 - Westminster Church, 745 Westminster Ave, Winnipeg
11 février à 20h00 - Seattle Town Hall, 8th coin Seneca, Seattle
13 février à 20h00 - Convocation Hall, Edmonton
15 février à 19h30 - Knox Presbyterian Church, Ottawa
16 février à 19h30 - Chapelle Notre-Dame-de-Bon-Secours Chapel, 400 rue Saint-Paul Est, Montréal

Solistes : Didon : Noemi Kiss, soprano Belinda : Grace Davidson, soprano 2e femme : Agnes Zsigovics, soprano Énée : Alexander Dobson, baryton Magicienne : Daniel Taylor, contre-ténor Marin : Benjamin Butterfield, ténor Avec le choeur et l’orchestre du TEM

Autres pièces vocales au programme : Oh Lovely Peace As with Rosy Steps The Pilgrim’s Home Total Eclipse O Nata Lux Remember not Hear My Prayer

SVP Voir la section "Concerts" pour informations supplémentaires.

 

 

 

Le New York Times : S’éprendre des duos et arias exaltants de Handel

Weill Recital Hall
Carnegie Hall
New York
15 novembre, 2011

Musiciens du TEM :

Cynthia Roberts, violon
Edwin Huizinga, violon
David Miller, alto
Amanda Keesmaat, violoncelle
Reuven Rothman, contrebass
Eric Milnes, clavecin
David Jacques, guitare baroque

The Theater of Early Music, a Canadian period-instrument and vocal ensemble led by Daniel Taylor, the countertenor, expands and contracts to suit the project at hand. Mr. Taylor brought a compact version to Weill Recital Hall for a Handel program on Tuesday, and though he was listed in the program book as both countertenor and conductor, there was no conducting to be done. When the instrumentalists had the spotlight -in trim, zesty accounts of a passacaglia (from HWV 432) and the "Giulio Cesare" Overture - Mr. Taylor left them to it.

The evening was mostly devoted to arias and duets from Rinaldo, Tolomeo, Giulio Cesare and Rodelinda, in which Mr. Taylor split the spotlight with the soprano Deborah York. They were well matched. In the ebullient Scherzano sul tuo volto (I look in your beloved eyes) from Rinaldo, Ms. York’s bright, tightly focused timbre perfectly complemented Mr. Taylor’s velvety tone, and when Ms. York darkened her sound in the mournful duet Io t’abbraccio (I embrace you) from Rodelinda, the blend was just about perfect.

On her own, Ms. York was at her best in Bel piacere (It is a great pleasure) and Lascia ch’io pianga (Let me weep), both also from Rinaldo. In Bel piacere, Handel demands an athletic series of barely prepared leaps, which Ms. York handled so gracefully that she made her ornamentation of the top notes sound natural and comfortable if not necessarily easy. In Lascia ch’io pianga, one of several tragic arias that gave the program its emotional richness, she sang with a wrenching dynamic suppleness.

Mr. Taylor matched that quality in several pieces, most notably the lustrous Dove sei (Where are you) from Rodelinda, where his tone was at its most fully burnished. .......

By Allan Kozinn, NY Times, 16 novembre, 2011
Photo : Karsten Moran pour le New York Times

Tout en intimité: le Theatre of Early Music en concert mardi soir au Carnegie Hall ..

....the performance in Weill Recital Hall gave modern audiences a glimpse into how Handel’s audiences would have consumed this music in coffee houses, concert halls, and in the home. The one-on-a-part ensemble may have left some in the audience yearning to hear a larger group of players to realize Handel’s sumptuous string parts. However, the balance between the players and singers was perfectly suited to the size of the sold-out Weill Recital Hall, and created a robust continuo - which contained more than half of the players!

Arias from three of Handel’s most popular operas in modern revival, Giulio Cesare, Rinaldo, and Rodelinda were featured in the program. But the true gem of the evening was the aria Se il cor ti perde from Tolomeo sung by Daniel Taylor (countertenor). The opera itself was little known even amongst the most experienced Handelians in the audience. For this piece, Taylor gave a charming introduction and explained some of his artistic choices. This helped add to the intimacy of the evening.... In the aria, he mixed his falsetto and baritone wonderfully for dramatic effect, and literally let his hair down in order to match the affekt of the crazed aria. His cadenzas were bombastic, chilling, and downright ferocious. One could really hear and see the rage of the character Tolomeo, who in the aria threatens his sister Cleopatra.

...Taylor and his colleague Deborah York gave fresh interpretations to these old favorites. Taylor’s delivery of Cara sposa from Rinaldo was particularly wonderful, and his entrance on the B natural held for more than four full beats was exquisite. A similar effect is written into the aria Dove sei from Rodelinda, and Taylor let his audience relish in his gentle messa di voce, beginning softly and then slowly swelling both in volume and vibrato. In all of his arias, Taylor showed remarkable restraint in his use of vocal embellishments and cadenzas. The result made his choices to alter the music in da capo repeats highly noticeable and effective.

Deborah York’s most stunning aria, perhaps, was Cleopatra’s Tu la mia stella sei from Giulio Cesare. Her da capo ornaments, more so than in her other arias, were subtly chosen and highlighted her vocal agility. The gorgeous and expansive Se pietá, another aria for Cleopatra in Giulio Cesare received thunderous applause from the audience.

True to the ensemble’s name, Theatre of Early Music, all of the music was presented in a theatrical manner,....Taylor, for example, never stood in the center of the stage during introductory ritornelli. For all of his arias, he made a dramatic entrance from stage left. Often, he even began singing facing away from the audience, singing to the players...... The style of dramatic presentation also contributed to its authenticity.

Stephen Raskauskas, 17 novembre, 2011
http://www.bachtrack.com/review-handel-theatre-early-music-daniel-taylor-deborah-york

Daniel Taylor et Deborah York interprètent Handel à la perfection

.....all the listener heard was glorious singing, supported by a committed group of instrumentalists. Cynthia Roberts was superb in the role of first violinist, playing with flare and with an awesome technique. The other instrumentalists were also right on with every note, including David Jacques who played the Baroque guitar.

Cara Sposa, the best known piece on this program, was touchingly sung by Mr. Taylor. He has an angelic demeanour which well suits songs of lamentation, and he performed this one effortlessly. Se il cor ti perde, a duet from Handel’s Tolemeo, is very similar in style to Schezano sul tuo volo. both duets weave the voices in, out and around each other: the harmonizing is ethereal and almost other-worldly.

The second half of the program opened with the overture to Giulio Cesare, Ms. Roberts and her group put so much spirit into their performance that it seemed as if a full orchestra was on stage. Tu la mia stella sei followed, a difficult aria that York tossed off with ease, reaching up to the highest vocal register without undue strain or thinning out.

The group returned to Rodelinda and a more familiar aria performed by Daniel Taylor, Dove sei, a lament made poignantly touching by Taylor’s attention to each word and meaningful but not overly-emotional gestures. This led into a wonderful and difficult aria, Se pieta di me non senti from Giulio Cesare. Built on a chromatically descending triplet played repeatedly through the entire piece, with Ms. York’s impassioned voice doubled or echoed by the strings, this was certainly the most moving aria in the concert, and the considerable applause that followed was appropriately long.

Taylor then took the stage and graciously thanked the New York audience for giving him the opportunity to play in Carnegie Hall. It was thrilling to him, but even more so to his mother, who was in the audience. He stated that his natural voice was that of a baritone and that he was able to use this range in this next aria, Domero la tua fierezza. Loosening his ponytail as he took on the role of the mad Tolomeo, he tackled this wild aria with all its jumping notes and wide intervals. If there was any question whether this angelic countertenor could belt out dramatic arias, it was answered here. His exaggerated gestures and emphatic holding of the low notes was tremendous fun after so many rueful songs.

Taylor dedicated the final duet from Rodelinda, Io t’abbraccio, to a deceased friend. Appreciative applause continued until the ensemble returned to do an encore of their first duet Scherzano sul tuo volto.

Stan Metzger
http://www.seenandheard-international.com/2011/11/18/daniel-taylor-and-deborah-york-perform-handel-to-perfection/
Photo : Nan Melville (C) 2011

Et de Milwaukee:
Le Handel du TEM : irréprochable

Taylor and York form a wonderfully complementary duo ..

York sings with a focused, pure sound, making sparing but effective use of vibrato and executing perfectly timed ornaments with absolute grace. She brings great musical depth and a tremendous range of colors and dynamics to her musical interpretations, creating a subtle sense of drama in the process. Her soulful, pristine deliveries of arias such as Lascia ch'io pianga from Rinaldo on Saturday’s program were exquisite.

Taylor has a bigger, more dramatic sound than York, which is remarkably warm and relaxed for a countertenor. He uses vibrato liberally and is not afraid to color outside the lines of a perfectly refined sound from time to time for musical effect....

Those differing sounds and styles combine to create musical magic in duets. The two singers work together with a remarkable musical intimacy based on a combination of great musical instincts and the ability to listen and respond to each other.

They give their duets the feel of extremely personal conversations.

Elaine Schmidt, Journal Sentinel, 20 novembre 2011

Early Music Now: Handel, maître d’opera

Countertenor Daniel Taylor, who sang from Handel operas Saturday on an Early Music Now program, is the best (countertenors) I’ve ever heard. His voice is big, beautiful, rich and agile. He guides it with unerring feel for the sentiments of the words and the direction of the phrase. He ornaments brilliantly and with a historian’s sense of style. ...

They sang and played selections from Rinaldo, Giulio Cesare and Rodelinda, ...The singers and players understood and fully realized them....

This music is also extravagantly virtuosic for the singers. Both York and Taylor negotiated fleet scales and arpeggios with ease and applied the most astonishing ornaments when Handel instructs them to repeat a section.....

Taylor took ornamentation a step further in Domero, from Giulio Cesare. He dropped out of countertenor guise and into his natural baritone for certain words, to startling effect. A couple of critics have taken him to task for the inauthenticity of such a stunt. They have a point, as this would not have occurred in Handel’s time - castrati don’t develop baritone ranges. But this music is first about amazing voices doing amazing things. In spirit, Taylor adhered to Rule No. 1 of late Baroque opera performance practice: If you’ve got it, baby, flaunt it! ....

... A near-capacity crowd applauded the Theatre of Early Music with gusto....

Tom Strini, 19 novembre 2011

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Basilique Notre Dame, Montréal 13 octobre, 2011

Concert très bien reçu par les délégués du International Congress of Human Genetics,

If this is Baroque, please don’t fix it!

Approximately 800 attendees of the 12th International Congress of Human Genetics were treated to a selection from Handel operas in the magnificent setting of the Notre Dame Basilica. Daniel Taylor, Suzie Leblanc and the Theatre of Early Music delivered a musical experience that will not soon be forgotten.

Mr. Taylor is touted as Canada’s star countertenor and, while not having had the opportunity to hear from the rest of the field, it is hard not to believe that this is a case of damning with faint praise. Demonstrating extraordinary control of his instrument Mr. Taylor conveyed the emotional gamut of the selections, from love and passion to despair and most memorably insane rage (with the requisite flying hair). It is hard to imagine a more devoted interpreter of this repertoire.

As fine as Mr. Taylor’s performance was, for me the revelation of the evening was the soprano, Suzie Leblanc. With a rich, pure tone of crystal clarity, Ms. Leblanc evokes the voice and style of her mentor, the great English Baroque soprano Emma Kirkby. Indeed, in this listener’s opinion Ms. LeBlanc’s vocal quality has infinitesimally more color while matching the unparalleled musicianship of the former. I am looking forward to exploring her discography not only to hear her perform the Baroque repertoire, but to enjoy performances of Acadian folk song.

The band, using authentic Baroque performance technique, was sensitive in its support of the singers and was given the opportunity to shine in two overtures. While all of the musicians were exemplary and the ensemble impeccable, two were especially noteworthy (pun intended). The 1st violinist Chloe Meyers was given ample opportunity to interact with the vocalists and was their equal in the antiphonal give and take. The obvious delight in the interplay of ornamentation between the soloists and violinist consistently put a smile on my face. Contemporary jazz musicians could take a thing or two from these musicians to employ the next time they are trading fours. Praise is also due the oft neglected member of most ensembles, bassist Reuven Rothman. With such a small group it is almost impossible for the bass not to dominate when it is playing, yet the blend with the other instruments was perfect, well done!

Perhaps the finest compliment that can be paid to all the performers was the reaction of the audience. Having attended a number of these events in the past has conjured nightmares of performing before a ‘gabble’ of geneticists who are absorbed in their quatrain of A, C, T and G to the apparent neglect of the 12 glorious notes between A and G. Indeed, at the outset, applause was polite if a bit perfunctory, but by the end the assembly erupted in a standing ovation that testified to the connection between the performers and the audience. Truly one of the finest performances I have attended and the highlight of the meeting. Thanks to the organizers, particularly Judith Allanson, Secretary-General of the ICHG for their work in arranging this wonderful concert.

Marc S. Williams, MD, Director, Clinical Genetics Institute, Intermountain Healthcare, Salt Lake City, Utah

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