Found Frozen S ON G S OF / C HAN S ON S DE

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DANIKA LORÈN

SOPRANO KRISZTINA SZABÓ

MEZZO-SOPRANO STEVEN PHILCOX

PIANO C A N A D I A N A R T S O N G P R O J E C T

Found Frozen

SONGS OF / CHANSONS DE

J E F F R E Y R Y A N

DION MAZEROLLE

BARITONE / BARYTON

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FOUND FROZEN SONGS OF / CHANSONS DE JEFFREY RYAN

When Canadian Art Song Project commissioned Jeffrey Ryan to compose a new work for Krisztina Szabó and Steven Philcox to perform (Miss Carr in Seven Scenes, 2017), we did so knowing that at the time the composer had not written a song cycle since 1997, a period of two decades. Since the earlier compositions of Of Passion’s Tide (1991), and Found Frozen (1997), Jeffrey Ryan’s writing for the voice had grown to encompass a wide variety of vocal works, including the chamber opera The Laurels (libretto by Michael Lewis MacLennan) and the acclaimed oratorio Afghanistan: Requiem for a Generation (texts by Suzanne Steele). We were eager for the composer to return to song and develop a new work that gave him an opportunity to explore a story rooted in Canada.

Placed together in one program, the song cycles on this recording, Of Passion’s Tide, Found Frozen, and Miss Carr in Seven Scenes, span over 25 years, moving from some of Jeffrey Ryan’s earliest and most often performed works, to a new composition, written at a time when he is recognized as one of the most skilled composers for the voice in Canada.

FOUND FROZEN: Songs of Jeffrey Ryan has been in production for a few years, in part due to the challenges imposed on our artistic community during the COVID-19 pandemic. We are thankful for the dedicated work of the wonderful artists who joined us for this recording project during such a challenging time: Krisztina Szabó, Danika Lorèn, and Dion Mazerolle.

Additionally, we could not have succeeded in this project without the amazing work, patience, and good humour of our recording engineer, Dennis Patterson.

This recording was made possible through the financial support of FACTOR, The Institute for Music in Canada, and by the generosity of many individual donors to Canadian Art Song Project. Special thanks to CASP Board Directors who, for over a decade, have continually encouraged us in our work to expand and promote Canadian art song through their time, dedication, and resources.

FOUND FROZEN: SONGS OF JEFFREY RYAN

by Lawrence Wiliford and Steven Philcox, Artistic Directors of Canadian Art Song Project

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Lorsque le Canadian Art Song Project a commandé de Jeffrey Ryan une nouvelle pièce pour Krisztina Szabó et Steven Philcox (Miss Carr in Seven Scenes, 2017), on l’a fait en sachant que le compositeur n’avait pas écrit un cycle de mélodies depuis 1997. Depuis ses ouvrages antérieurs, Of Passion’s Tide (1991) et Found Frozen (1997), les compositions pour voix de Jeffrey Ryan étaient devenues très diverses, comprenant l’opéra de chambre The Laurels (livret par Michael Lewis MacLennan) et l’oratorio acclamé Afghanistan:

Requiem for a Generation (textes par Suzanne Steele). On avait hâte à

témoigner le retour de ce compositeur au domaine des mélodies, et de voir de lui une nouvelle pièce qui lui permettrait d’explorer une histoire ancrée dans le Canada.

Rassemblés dans un programme unique, les cycles de cet enregistrement, Of Passion’s Tide, Found Frozen et Miss Carr in Seven Scenes, couvrent une période de 25 années qui commence par les premiers ouvrages de Jeffrey Ryan, ses plus connus, et qui concluent avec une nouvelle pièce, rédigée après qu’il est devenu connu comme un des compositeurs pour voix les plus doués du Canada.

FOUND FROZEN: Chansons de Jeffrey Ryan est en développement depuis plusieurs années, en partie à cause des difficultés rencontrées par la communauté artistique en raison de la pandémie COVID-19. On est reconnaissants du

travail dédié des merveilleux artistes qui se sont joints à nous pour ce projet d’enregistrement malgré l’ère difficile qu’on vit: Krisztina Szabó, Danika Lorèn et Dion Mazerolle. De plus, ce projet n’aurait pas pu réussir sans le travail incroyable, la patience et la bonne humeur de notre ingénieur de son, Dennis Patterson.

Cet enregistrement est devenu possible grâce au soutien financier de FACTOR et du Institute for Music in Canada, ainsi qu’aux dons généreux de plusieurs personnes du Canadian Art Song Project. Remerciements particuliers au Conseil d’Administration du CASP qui nous appuie avec leurs temps, dévouement et ressources depuis plus qu’une décennie et qui encourage nos efforts à répandre et promouvoir la mélodie canadienne.

FOUND FROZEN: CHANSONS DE JEFFREY RYAN

par Lawrence Wiliford et Steven Philcox, Directeurs artistiques du Canadian Art Song Project

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FOUND FROZEN

Found Frozen is a setting of three poems by the American poet Helen Hunt Jackson (1830-1885). A contemporary of Emily Dickinson,

Jackson was considered by Emerson, among others, to be one of the best female poets of her time. Her early work (much of which was published anonymously or under pseudonyms, as was still common for women at the time) attracted an unusual amount of attention, and she soon became self-supporting—no small feat for any poet! Later in life, she published under her own name, and many more of her poems were collected and published posthumously.

The three poems in this cycle all reflect upon the richness of a life now shadowed by the spectre of death. In each, Jackson’s simple, declarative style gives room to tremendous emotional breadth, reaffirming the joy and exhilaration of the present moment, and finding solace in the knowledge of a life well-lived.

FOUND FROZEN

Found Frozen est une mise en musique de trois poèmes par la poétesse américaine Helen Hunt Jackson (1830-1885). Une contemporaine d’Emily Dickinson, Jackson est considérée une des meilleures poétesses de son époque par Emerson entre autres. Ses premiers travaux (la majorité desquels sont publiés de façon anonyme ou sous un pseudonyme, pratique courante pour les femmes de cette époque) se sont mérités une attention surprenante, ce qui lui a bientôt permis de gagner sa vie avec ses ouvrages - tout un exploit pour n’importe quel poète. Plus tard dans la vie, elle commence à publier avec son vrai nom et, suite à sa mort, plusieurs de ses poèmes sont rassemblés et publiés.

Les trois poèmes de ce cycle portent tous sur la richesse d’une vie qui se trouve maintenant sous l’ombre de la mort. Dans chaque pièce, le style simple et déclaratif de Jackson donne espace à une immense diversité d’émotion. Elle affirme la joie et l’euphorie du présent, et se conforte à se rappeler sa vie bien vécue.

PROGRAMME NOTES / NOTES DE PROGRAMME by/par Jeffrey Ryan

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MISS CARR IN SEVEN SCENES

In Emily Carr’s published journals, Hundreds and Thousands, the iconic Canadian painter (1871-1945) wrote about her struggles to be an artist, both creatively and practically: to develop her own voice, to adequately convey what she saw to the canvas, to discover the intersection of art and spirit, to deal with self-doubts and frustrations, to find an audience, to sell her paintings, to make ends meet. For anyone who has sought to build a life as an artist, her words resonate deeply with recognition.

Carr’s journal entries, personal yet universal, provided the perfect source from which to fashion a libretto that bridges song and theatre in a kind of monodrama of an artist’s life. These seven scenes provide a series of snapshots chronicling Carr’s parallel journeys of capturing the mountain to her canvas and conquering the mountain to artistic success and validation.

MISS CARR IN SEVEN SCENES

Dans la version publiée de son journal intime, Hundreds and Thousands, Emily Carr, peintre iconique canadienne (1871-1945) dévoile les épreuves créatives et matérielles qu’elle a vécues au long de sa carrière artistique. Elle parle des difficultés qu’elle a eu à trouver son propre style, à proprement exprimer sur la toile ce dont elle voyait, à découvrir la rencontre de l’art et de l’esprit, à faire face à ses doutes et à ses frustrations, à trouver une audience, à vendre ses tableaux et à joindre les deux bouts. Ses paroles touchent au coeur de quiconque a déjà œuvré pour devenir artiste.

Ses écritures de journal, personnelles, mais aussi universelles, ont été la source parfaite pour façonner un livret qui fait le lien entre la mélodie et le théâtre pour faire de la vie de l’artiste une sorte de monodrame. Ces sept scènes nous offrent une série d’instantanées qui racontent les deux trajets parallèles de Carr : la capture de la montagne qui mène vers sa toile et la conquête de la montagne du succès artistique et de la validation.

PROGRAMME NOTES / NOTES DE PROGRAMME

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OF PASSION’S TIDE

Of Passion’s Tide is a setting of six poems written in the 1910s and ’20s by C. P. Cavafy (1863-1933), used here in Rae Dalven’s English translation from the original Greek. Cavafy wrote frankly, honestly, and beautifully about male relationships from his perspective and experience as a gay man in the early 20th century.

These particular poems, selected from Cavafy’s collected works, fall nicely into an umbrella storyline of an older man reflecting on a relationship from his youth. The first song, Desires, expresses the importance of acting on one’s feelings while one has the chance. In the second song, The Next Table, he sees a young man at a café who reminds him of his past love.

The next three songs (At the Theater, Picture of a 23-year-old youth…, and Before Time Changes Them) take us into his memory of that long-ago relationship from its rapturous beginning to its unavoidable ending. Finally, Return expresses his yearning to rediscover those sensations of his youth.

OF PASSION’S TIDE

Of Passion’s Tide est une mise en musique de six poèmes grecs rédigés dans les années 1910 et 1920 par C. P. Cavafy (1863-1933), traduits en anglais par Rae Dalven. Cavafy écrit avec sincérité, honnêteté et beauté apropos des relations entres hommes de son point de vue en tant qu’homme homosexuel vivant au début du 20e siècle.

Ces poèmes particuliers, tirés des oeuvres complètes de Cavafy, s’intègrent bien à une histoire à propos d’un homme âgé qui réfléchis sur une relation amoureuse de sa jeunesse. La première chanson, Desires, exprime l’importance d’agir selon ses sentiments avant que l’opportunité disparaisse. Dans la deuxième chanson, The Next Table, il voix un jeune homme dans un café qui lui rappelle d’un ancien amoureux. Les trois prochaines chansons (At the Theater, Picture of a 23-year- old youth… et Before Time Changes Them) nous apportent à ses mémoires de cette lointaine relation, de son début plein de passion jusqu’à sa fin inévitable.

Finalement, Return affirme son désir à redécouvrir les sensations de sa jeunesse.

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SO CRUMBLE INTO SAND

In this short song with words by Mustafa Ahmed (b. 1996), the two voices of the pianist’s hands weave together, complementing each other, while the singer, as a third and outside voice, yearns to be part of just such a relationship.

SO CRUMBLE INTO SAND

Dans cette chanson courte avec paroles par Mustafa Ahmed (né 1996), les deux voix des mains du pianiste se tissent ensemble da façon complémentaire pendant que le chanteur, une 3ème voix externe, aspire à se trouver une telle relation.

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ACKNOWLEDGEMENTS BY THE COMPOSER

Miss Carr in Seven Scenes was commissioned by Canadian Art Song Project for mezzo-soprano Krisztina Szabó and pianist Steven Philcox.

Found Frozen was commissioned by pianist Michael Borowitz for himself and soprano Tina Selvaggio.

Of Passion’s Tide was premiered by baritone Mark Walters and pianist Michael Borowitz. The Cavafy translations by Dr. Rae Dalven in Of Passion’s Tide are taken from THE COMPLETE POEMS OF CAVAFY, translated by Rae Dalven, ©1961, 1989, published by Harcourt Brace Jovanovich, Inc.; used and reprinted with kind permission of The

Alexander S. Onassis Program in Hellenic Studies at New York University.

So Crumble Into Sand was commissioned by the Regent Park School of Music as part of its inaugural The Park Songbook project, for soprano Cresilda Arellano and pianist Justin Vuong. All the poems in The Park Songbook, including this one by Mustafa Ahmed, were selected from RPSM student submissions, and all the songs were premiered by RPSM student art song teams. Thanks to RPSM’s Zorana Sadiq, Kate Carver, and Richard Marsella.

REMERCIEMENTS DU COMPOSITEUR

Found Frozen a été commandé par le pianiste Michael Borowitz pour lui-même et la soprano Tina Selvaggio.

Of Passion’s Tide a été créé par le baryton Mark Walters et le pianiste Michael Borowitz. Les traductions de Cavafy par Dr. Rae Dalven qui apparaissent dans Of Passion’s Tide sont tirées de THE COMPLETE POEMS OF CAVAFY, traduit par Rae Dalven, ©1961, 1989, publié par Harcourt Brace Jovanovich, Inc.; utilisé et reproduit avec l’aimable autorisation du programme d’Études Helleniques Alexander S. Onassis de l’Université de New York.

So Crumble Into Sand a été commandé par la Regent Park School of Music dans le cadre de son projet inaugural The Park Songbook pour la soprano Cresilda Arellano et le pianiste Justin Vuong. Tous les poèmes qui apparaissent dans The Park Songbook, y inclus celui de Mustafa Ahmed, viennent de soumissions des étudiants du RPSM, et toutes les chansons ont été créés par des équipes d’étudiants de mélodies du RPSM. Remerciements à Zorana Sadiq, Kate Carver et Richard Marsella du RPSM.

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Jeffrey Ryan was almost an accountant. Three months into his first semester at Wilfrid Laurier University, he begged to transfer into the Music Faculty to become a composer. Since he had grown up training his ear with Petula Clark, The Partridge Family, and Captain and Tennille, playing saxophone and flute in high school bands, singing in two choirs, and writing his own songs for voice class, this surprised absolutely no one.

Now, as a freelance composer based in Vancouver, Canada, Ryan finds inspiration in the world around him—nature, science, literature, visual art, even the stock market—and creates music that runs the gamut from orchestral and chamber works to opera, art song, and choral music.

Praised for his “strong personal voice” (Globe and Mail) and recipient of SO- CAN’s Jan V. Matejcek New Classical Music Award, Ryan’s music engages audiences in concerts and broadcasts around the world. Commissions include works for the Cleveland Orchestra, Vancouver Symphony, Toronto Sympho- ny, Montreal Symphony, Calgary Philharmonic, Victoria Symphony, Manitoba

Jeffrey Ryan est presque devenu comptable. Après trois mois d’études à l’Université Wilfrid-Laurier, il supplie à être transféré à la faculté de musique pour devenir compositeur. Étant donné son enfance, passée à former son oreille musicale avec Petula Clark, The Partridge Family et Captain and Tennille, à jouer le saxophone et la flute dans l’orchestre de son école secondaire, à chanter dans deux chorales et à écrire ses propres chansons pour son cours de voix, cette nouvelle n’a surpris personne.

Maintenant, en tant que compositeur indépendant basé à Vancouver (Canada), Ryan tire inspiration du monde qui l’entoure — la nature, la science, la

littérature, l’art visuel, et même le marché boursier — pour écrire des oeuvres orchestrales, de la musique de chambre, des opéras, des mélodies et des chants chorals.

Acclamé pour sa “voix forte et personnelle” (Globe and Mail) et lauréat du prix Jan V. Matejcek pour nouvelle musique classique de SOCAN, sa musique ravit les auditoires dans des concerts et des émissions à travers du ARTISTS’ BIOGRAPHIES / BIOGRAPHIES DES ARTISTES

JEFFREY RYAN,COMPOSER / COMPOSITEUR

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Chamber Orchestra, Arditti Quartet, Penderecki Quartet, Grypon Trio, and Canadian Art Song Project. His song cycle Everything Already Lost, with poet- ry by Jan Zwicky, won the 2021 NATS Art Song Composition Award, making him the first Canadian to take first prize in this international competition.

Well represented on disc, recordings of Ryan’s music have garnered multiple JUNO and Western Canadian Music Award nominations. His discography includes the portrait CDs Fugitive Colours (Vancouver Symphony/Gryphon Trio) and the chamber collections Quantum Mechanics and My Soul Upon My Lips, along with many individual works.

Ryan was the Vancouver Symphony’s Composer-in-Residence (2002- 2007) and Composer Laureate (2008/09). He was an Affiliate Composer with the Toronto Symphony (2000-2002), and is currently Composer Advisor for Music Toronto. He holds degrees from Wilfrid Laurier University, University of Toronto, and Cleveland Institute of Music.

jeffreyryan.com

monde. On compte parmi ses commandes des oeuvres pour les orchestres symphoniques de Montréal, Vancouver, Cleveland, Toronto et Victoria, le Calgary Philharmonic, le Manitoba Chamber Orchestra, le Arditti Quartet, le Penderecki Quartet, le Gryphon Trio et le Canadian Art Song Project. En 2021, son cycle de mélodies Everything Already Lost, incorporant la poésie de Jan Zwicky, s’est mérité le NATS Art Song Composition Award. Ryan est le premier Canadien à gagner le premier prix de cette compétition internationale.

Ryan apparait sur nombreux albums, et sa musique s’est mérité plusieurs nominations aux prix JUNO et Western Canadian Music. Sa discographie compte l’album Fugitive Colours (Vancouver Symphony/Gryphon Trio) et les collections de musique de chambre Quantum Mechanics et My Soul Upon My Lips, ainsi que plusieurs œuvres individuels.

Ryan a été compositeur en résidence (2002-2007) et compositeur lauréat (2008-2009) de l’Orchestre symphonique de Vancouver. Il a été compositeur adjoint avec l’Orchestre symphonique de Toronto (2000-2002) et agit

présentement comme compositeur conseiller pour Music Toronto. Il est titulaire de diplômes décernés par l’Université Wilfrid-Laurier, l’Université de Toronto, et le Cleveland Institute of Music.

jeffreyryan.com ARTISTS’ BIOGRAPHIES / BIOGRAPHIES DES ARTISTES

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“Imaginative and theatrical,” soprano Danika Lorèn is “an organic fit for … Canada’s largest stages.” As an artist who delights in a diversity of styles, they

“fearlessly take on the challenging music” of our time (Globe and Mail), while performing operatic repertoire that is “glowingly rendered” (OperaGoTO).

Lorèn is an alumnus of the Canadian Opera Company’s Ensemble Studio and a recipient of the 1st Prize in the studio’s 2017 Christina and Louis Quilico Awards. Lorèn is also a member of Barbara Hannigan’s Equilibrium Young Artists initiative.

“A rarity among today’s opera singers,” Lorèn is also a composer (Globe and Mail), and with performances of their work at Wigmore Hall, the Leeds Lieder Festival, the Muziekgebouw aan ‘t IJ, and New York City’s National Sawdust, Lorèn’s works are championed by an international cast of performers. Within Canada, Lorèn’s music has been heard at the CBC, Pacific Opera Victoria, the Canadian Opera Company, Saskatoon Symphony Orchestra and Lunenburg Academy of Music Performance.

“Imaginative et théâtrale,” la soprano Danika Lorèn est “parfaite pour ... les plus grands étages du Canada.” Une artiste qui adore explorer divers styles de musique, elle “prend avec courage les défis de la musique difficile” de notre époque (Globe and Mail) avec ses interprétations d’un répertoire organique qui est “brillamment représenté” (OperaGoTO).

Lorèn est une ancienne élève de l’Ensemble Studio de la Compagnie d’opéra canadienne, et a gagné en 2017 le premier prix des Prix Christina et Louis Quilico. Lorèn est aussi lauréate de l’initiative Barbara Hannigan’s Equilibrium Young Artists.

“Une rareté parmi les chanteurs d’opéra contemporains” (Globe and Mail), Lorèn est aussi une compositrice. Ses pièces ont été jouées par divers interprètes d’à travers le monde à Wigmore Hall, au Leeds Lieder Festival, au Muziekgebouw aan ‘t IJ et au National Sawdust de la ville de New York. Au Canada, la musique de Lorèn à déjà apparu sur les ondes de CBC/Radio- Canada, et dans des performances de la Pacific Opera Victoria, la Compagnie

DANIKA LORÈN , SOPRANO

ARTISTS’ BIOGRAPHIES / BIOGRAPHIES DES ARTISTES

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As an interpreter of classical vocal music, Danika Lorèn maintains an eclectic repertoire that darts from Vivier to Wagner. Danika has performed with companies such as the Canadian Opera Company, Against the Grain Theatre, and Saskatoon Opera, and has collaborated with the symphony orchestras of Thunder Bay, Saskatoon, Regina, and the Indian River Festival. Additional performances include appearances at the Toronto Summer Music, Pontiac Enchantee, and Elora Festivals.

danikalorensoprano.com

d’opéra canadienne, la Saskatoon Symphony Orchestra et la Lunenburg Academy of Music Performance.

En tant qu’interprète de musique classique vocale, Danika Lorèn possède un répertoire éclectique qui va de Vivier à Wagner. Lorèn a déjà chanté avec des troupes telles que la Compagnie d’opéra canadienne, Against the Grain Theatre et Saskatoon Opera, et elle a collaboré avec les orchestres symphoniques de Thunder Bay, Saskatoon, Regina et du Indian River Festival. Elle s’est aussi produite aux festivals Toronto Summer Music, Pontiac Enchanté, et Elora Festival.

danikalorensoprano.com ARTISTS’ BIOGRAPHIES / BIOGRAPHIES DES ARTISTES

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Acadian baritone Dion Mazerolle has earned a solid reputation in Canada and Europe as an artist of the highest calibre. A former member of the Atelier lyrique de l’Opéra de Montréal, he is acclaimed for his musical finesse and strong stage presence in both opera and concert as well as being a gifted recitalist.

Mazerolle has performed with many ensembles and orchestras across Canada including: Elmer Iseler Singers, Musica Orbium, Grand Philharmonic Choir, Festival International de Musique Baroque de Lamèque, Newfoundland Symphony, Ensemble Caprice, Ensemble Boréades de Montréal, Chorus Niagara, Kitchener-Waterloo Symphony and Regina Symphony Orchestra.

Comfortable in both traditional and contemporary opera, Mazerolle has appeared in leading roles with many of Canada’s opera companies, including Pacif- ic Opera Victoria, Edmonton Opera, and Against the Grain Theatre. In recent seasons he starred as Germont with Opéra du Royaume in Verdi’s La Traviata

Le baryton acadien Dion Mazerolle s’est mérité une bonne réputation au Canada et en Europe en tant qu’artiste de plus haut de gamme. Un membre ancien de l’Atelier lyrique de l’Opéra de Montréal, il est acclamé pour sa finesse musicale et forte présence de scène à l’opéra comme au concert, ainsi pour ses habiletés en tant que récitaliste.

Mazerolle s’est produit avec plusieurs ensembles et orchestres au travers du Canada, y inclus Elmer Iseler Singers, Musica Orbium, la Grand Philharmonic Choir, le Festival International de Musique Baroque de Lamèque, le Newfoundland Symphony, l’Ensemble Caprice, l’Ensemble Boréades de Montréal, la Chorus Niagara, le Kitchener-Waterloo Symphony et le Regina Symphony Orchestra.

À l’aise dans les opéras traditionnels comme les modernes, Dion Mazerolle à joué des rôles principaux avec plusieurs troupes d’opéra canadiennes, y inclus Pacific Opera Victoria, Edmonton Opera et Against the Grain Theatre. Récemment, il a joué le rôle de Germont avec l’Opéra du Royaume dans La Traviata de Verdi, et a

DION MAZEROLLE, BARITONE / BARYTON

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and with the Opéra de Québec in Massenet’s Werther and Bizet’s Carmen.

Early in his career, Mazerolle sang Golaud in Debussy’s Pelléas et Mélisande with Opéra de Montréal, conducted by Yannick Nézet-Séguin. Mazerolle performed in Harry Somers’ opera Louis Riel with the Canadian Opera Company and the National Arts Centre in Ottawa. A frequent guest artist with Montreal’s Chants Libres, he created the role of Soulayed in the world premiere of L’orangeraie (Tremblay/Moultaka), as well as a digital concert of works dedicated to Silvio Palmieri with the Ensemble Contemporain de Montréal.

joué dans Werther de Massenet et Carmen de Bizet avec l’Opéra de Québec. Tôt dans sa carrière, Mazerolle a joué Golaud dans Pelléas et Mélissande de Debussy avec l’Opéra de Montréal, dirigé par Yannick Nézet-Séguin. Il s’est produit avec la Compagnie d’opéra canadienne et au Centre national des arts à Ottawa dans l’opéra Louis Riel par Harry Somers. Souvent invité par Chants Libres (Montréal) à être un artiste en vedette, Mazerolle créé le rôle de Soulayed dans la première de L’orangeraie (Tremblay/Moultaka), ainsi qu’un concert digital d’oeuvres dédié à Silvio Palmieri en collaboration avec l’Ensemble Contemporain de Montréal.

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Hungarian-Canadian mezzo-soprano Szabó is highly sought after in both North America and Europe as an artist of supreme musicianship and stage- craft, and is known for her promotion and performance of contemporary Canadian works.

Szabó’s career has seen her on all the major opera and concert stages across Canada. She regularly performs with the Canadian Opera Company, Vancouver Opera, Tapestry Opera, Early Music Vancouver, and Tafelmusik Baroque Orchestra. Outside of Canada, she has performed with such companies as San Francisco Opera, Opera Philadelphia, Stadttheater Klagenfurt, and Wexford Festival Opera. In 2018, Szabó made her Royal Opera and Netherlands Opera débuts in George Benjamin’s new opera, Lessons in Love and Violence, the recording of which received a Grammy nomination for Best Opera Recording.

La mezzo-soprano Canada-Hongroise Krisztina Szabó est trés sollicitée en Amérique du Nord et en Europe grâce à son sens musical exceptionel et sa scénographie. Elle est reconnue pour ses performances d’oeuvres canadiens contemporains et sa contribution à leur promotion.

Au cours de sa carrière, Szabó est apparu dans toutes les fameuses salles de concert et d’opéra du Canada. Elle se produit régulièrement avec la Compagnie d’opéra canadienne, le Vancouver Opera, le Tapestry Opera, Early Music Vancouver et le Tafelmusik Baroque Orchestra. Hors du Canada, elle se produit avec des troupes tel que la San Francisco Opera, Opera Philadelphia, Stadttheater Klagenfurt et la Wexford Festival Opera. En 2018, Szabó se produit avec le Royal Opera et le Netherlands Opera pour la première fois lorsqu’elle joue dans le nouvel opéra de George Benjamin, Lessons in Love and Violence. L’enregistrement de cette performance est mis en nomination pour un

KRISZTINA SZABÓ , MEZZO-SOPRANO

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She has been nominated for Outstanding Performance by the Dora Awards twice, and was in Kopernikus (Claude Vivier) with Against the Grain Theatre (Toronto) which won a Dora Award for Best Ensemble.

Her discography includes New Jewish Music, Vol. 3 (Analekta), Ana Sokolović – Sirènes (Naxos), and Talisker Players – Where Words and Music Meet (Cen- trediscs). Digital projects include Tafelmusik’s The Voice of Vivaldi, Festival of the Sound’s Arias and Antics, Wagner’s Wesendonck Lieder (Vancouver Opera), An Italian Baroque Festive Celebration (Early Music Vancouver); performing in recital for the Chan Centre for the Performing Arts and Behind the Keys with Vancouver Bach Choir, and Tapestry Opera’s S.O.S. Sketch Opera Singers.

Krisztina sang the world première of Jeffrey Ryan’s Emily Carr in Seven Scenes for CASP in 2018.

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prix Grammy dans la catégorie du meilleur enregistrement d’opéra.

Elle a déjà été nominé deux fois pour la meilleure performance aux prix Dora, et a été dans Kopernikus de Claude Vivier avec Against the Grain Theatre lorsqu’il a gagné le prix Dora pour meilleur ensemble.

Sa discographie compte les albums New Jewish Music, Vol. 3 (Analekta), Ana Sokolović – Sirènes (Naxos) et Talisker Players – Where Words and Music Meet (Centredisques). Parmi ses projets digitaux, on trouve The Voice of Vivaldi de Tafelmusik, Arias and Antics Festival of the Sound, Wesendonck Lieder de Wagner (Vancouver Opera), An Italian Baroque Festive Celebration (Early Music Vancouver); une performance récital pour le Chan Centre for the Performing Arts, Behind the Keys avec la Vancouver Bach Choir et S.O.S. Sketch Opera Singers de Tapestry Opera.

Szabó a chanté la création mondiale de Emily Carr in Seven Scenes de Jeffrey Ryan pour CASP en 2018.

krisztinaszabo.com ARTISTS’ BIOGRAPHIES / BIOGRAPHIES DES ARTISTES

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Pianist Steven Philcox is highly regarded as one of Canada’s finest collabo- rators and is a frequent partner of Canada’s vocal elite performing in concert halls both at home and abroad.

From 1999-2010, Philcox was a celebrated member of the music staff of the Canadian Opera Company where he served as répétiteur and assistant conductor on more than 35 productions and was the pianist of choice for baroque and classical continuo. In 2006, Philcox distinguished himself in an auspicious debut conducting the company’s final performance of Mozart’s Cosi fan tutte at the newly opened Four Seasons Centre for the Performing Arts. Other conducting credits with the company as assistant conductor include performances of Gounod’s Faust, Britten’s Albert Herring and Rossini’s Il barbiere di Siviglia.

As a pedagogue, Philcox has given masterclasses throughout North America and is regularly invited to mentor young artists at many of Canada’s prestigious

Partenaire fréquent des chanteurs canadiens de plus haut de gamme dans leurs performances au Canada et à l’étranger, le pianiste Steven Philcox est considéré un des meilleurs collaborateurs du pays.

De 1999 à 2010, il est un membre célébré du personnel musical de la Compagnie d’opéra canadienne, où il agit de répétiteur et de chef assistant sur plus que 35 productions. Il est aussi le pianiste de choix pour le continuo baroque et classique. En 2006, il se distingue avec son grand début comme chef d’orchestre, où il dirige la troupe pour leur dernière interprétation Cosi fan tutte de Mozart au nouveau Four Seasons Centre for the Performing Arts.

Il a aussi dirigé pour la troupe Faust de Gounod, Albert Herring de Britten et Il barbieri di Siviglia de Rossini.

Comme pédagogue, Philcox enseigne des cours de maîtres à travers de l’Amérique du Nord, et il est régulièrement invité à être mentor aux jeunes artistes de plusieurs des programmes d’entrainement les plus prestigieux du ARTISTS’ BIOGRAPHIES / BIOGRAPHIES DES ARTISTES

STEVEN PHILCOX , PIANIST / PIANISTE

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training programs. Recent highlights include Opera on the Avalon, Vancou- ver International Song Institute, University of Texas, Austin, Canadian Opera Company Studio Ensemble, Stratford Summer Music Vocal Academy, and the Centre for Operatic Studies in Italy. He is the director of the Art of Song program at Toronto Summer Music and co-artistic director of Canadian Art Song Project. He has recorded for the Stone Records and Centrediscs labels.

Philcox is currently Associate Professor and head of Collaborative Piano studies at the University of Toronto’s Faculty of Music.

Canada. Récemment, on compte parmi eux Opera on the Avalon, le Vancouver International Song Institute, l’Université du Texas à Austin, l’Ensemble Studio de la Compagnie d’opéra canadienne, la Stratford Summer Music Vocal Academy, et le Centre for Operatic Studies in Italy. Il est directeur du program Art of Song de Toronto Summer Music, et codirecteur artistique du Canadian Art Song Project. Il s’est déjà produit dans des enregistrements des étiquettes Stone Records et Centredisques.

Philcox est actuellement professeur associé et chef d’études en piano collaboratif à la Faculté de musique de l’Université de Toronto.

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Canadian Art Song Project was founded in 2011 by tenor Lawrence Wiliford and pianist Steven Philcox. Inspired by a passion for Canadian music, and art song in particular, its mission is to build on the rich legacy of Canadian song.

It engages composers, writers, and performers to share and celebrate their experiences through the creation of new music and provides opportunities for Canadian artists to program and advocate for the existing song literature.

CASP has commissioned several new works, including those by Brian Har- man / David Brock, Norbert Palej, Brian Current, James Rolfe / André Alexis, Peter Tiefenbach / James Ostime, Marjan Mozetich, Erik Ross, Dean Burry, Afarin Mansouri, Tawnie Olsen, Cecilia Livingston, Abigail Richard- son-Schulte, Christos Hatzis, Maria Thompson Corley and Ana Sokolović. In collaboration with the Canadian Music Centre, CASP has produced a series of recordings highlighting the wealth of song by Canadian composers.

canadianartsongproject.ca

Le Canadian Art Song Project est fondé en 2011 par le ténor Lawrence Wiliford et le pianiste Steven Philcox. Le projet est inspiré par la passion des fondateurs envers la musique canadienne et les mélodies en particulier. Sa mission est de bâtir sur le vaste héritage des mélodies canadiennes. Il encourage les compositeurs, les écrivains et les interprètes à partager et célébrer leurs expériences en rédigeant de la nouvelle musique, et donne aux artistes

canadiens l’opportunité défendre et d’inclure dans les programmes le répertoire actuel de mélodies.

CASP a déjà commandé plusieurs nouveaux oeuvres par des artistes tels que Brian Harman / David Brock, Norbert Palej, Brian Current, James Rolfe / André Alexis, Peter Tiefenbach / James Ostime, Marjan Mozetich, Erik Ross, Dean Burry, Afarin Mansouri, Tawnie Olsen, Cecilia Livingston, Abigail Richardson-Schulte, Christos Hatzis, Maria Thompson Corley et Ana Sokolović. En collaboration avec le Centre de musique canadienne, le CASP a produit une série d’enregistrements qui surligne la richesse du répertoire de mélodies créées par des compositeurs canadiens.

canadianartsongproject.ca CANADIAN ART SONG PROJECT

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1. Found Frozen

She died, as many travellers have died, O’ertaken on an Alpine road by night;

Numbed and bewildered by the falling snow, Striving, in spite of failing pulse, and limbs Which faltered and grew feeble at each step, To toil up the icy steep, and bear

Patient and faithful to the last, the load Which, in the sunny morn, seemed light!

And yet

’T was in the place she called her home, she died;

And they who loved her with the all of love Their wintry natures had to give, stood by

And wept some tears, and wrote above her grave Some common record which they thought was true;

But I, who loved her last, and best, — I knew.

2. Poppies on the Wheat

Along Ancona’s hills the shimmering heat, A tropic tide of air with ebb and flow Bathes all the fields of wheat until they glow Like flashing seas of green, which toss and beat Around the vines. The poppies lithe and fleet Seem running, fiery torchmen, to and fro To mark the shore.

The farmer does not know That they are there. He walks with heavy feet, Counting the bread and wine by autumn’s gain, But I,—I smile to think that days remain

Perhaps to me in which, though bread be sweet No more, and red wine warm my blood in vain, I shall be glad remembering how the fleet, Lithe poppies ran like torchmen with the wheat.

POEMS / POÈMES

3. Her Eyes

That they are brown, no man will dare to say He knows. And yet I think that no man’s look Ever those depths of light and shade forsook, Until their gentle pain warned him away.

Of all sweet things I know but one which may Be likened to her eyes.

When, in deep nook Of some green field, the water of a brook Makes lingering, whirling eddy in its way,

Round soft drowned leaves; and in a flash of sun They turn to gold, until the ripples run

Now brown, now yellow, changing as by some Swift spell.

I know not with what body come The saints. But this I know, my Paradise Will mean the resurrection of her eyes.

—

poems by Helen Hunt Jackson

FOUND FROZEN

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MISS CARR IN SEVEN SCENES 4. Oh, These Mountains!

Oh, these mountains! They won’t bulk up.

Something has spoken to the very soul of me, wonderful, mighty, not of this world. Chords way down in my being have been touched. Dumb notes have struck chords of wonderful tone. Something has called out of somewhere. Something in me is trying to answer. It is surging through my whole being, the wonder of it all, like a great river rushing on, dark and turbulent, and rushing and irresistible, carrying me away. Where, where? I long to hear and yet I’m half afraid.

Oh, you mountains, I am at your feet—humble, pleading! Speak to me in your wordless words!

5. A Glimpse of God

Emily Carr, born Dec. 13, 1871 at Victoria, B.C., 4 a.m. in a deep snow storm, tomorrow will be sixty- two. It is not all bad, this getting old, ripening.

Do not forget life, artist. A picture is not a collec- tion of portrayed objects nor is it a certain effect of light and shade nor is it a souvenir of a place nor a sentimental reminder, nor is it a show of colour nor a magnificence of form, nor yet is it anything seeable or sayable. It is a glimpse of God interpreted by the soul.

A few minutes more and the New Year will come.

The present moment, that’s all we have. This looking forward and looking back is unprofitable. I have done? I will do? No, I AM DOING.

POEMS / POÈMES

6. Rhythm and Space

Rhythm and space, space and rhythm, how can I learn more about these?

I woke with this idea. Try using positive and negative colours in juxtaposition. Try working in comple- mentaries; run some reds into your greens, some yellow into your purples. Red-green, blue-orange, yellow-purple.

The arrangement, the design, colour, shape, depth, light, space, mood, movement, balance, not one or all of these fills the bill. There is something additional, a breath that draws your breath into its breathing, a heartbeat that pounds on yours, a recognition of the oneness of all things.

Form is fine, and colour and design and subject matter but that which does not speak to the heart is worthless.

Oh, that mountain! I’m dead beat tonight with struggling.

7. Letters

Reams of Horrid Letters

I’ve written reams of horrid letters to picture galler- ies that won’t return my exhibits. National Gallery had three for three years, Toronto Watercolour had three for two years. Why should one have to beg and beg to get their own belongings? I wrote Brown straight from the shoulder. He’ll ignore it like always, as if I did not exist, weren’t worth a glance even from his eye.

8. Letters

Mr. Hatch Wrote

Mr. Hatch wrote acknowledging the two paper sketches I sent him. He found their vigour and profoundness appealing. Said few people understand them. Now I can’t see what there is to be under- stood. Perhaps folk would like a numbered bit on the back:

1. a tree, 2. a root, 3. a grass, 4. a fool looking.

9. Letters

Compliments, Hanna Lund Yesterday I got this letter.

Dear Madame Emily Carr:

Just a few words to express my great admiration for your beautiful picture, “Peace.” To me this picture represents Divinity and I have often been sitting in front of it this last week.

Compliments, Hanna Lund

When I read it I cried hard.

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10. A Movement Floating Up

I am sixty-three tomorrow and have not yet known real success.

I am painting a sky. The subject is sky, starting lav- ender beneath the trees and rising into a smoother hollow air space, greenish in tone, merging into laced clouds and then into deep, bottomless blue, not flat and smooth like the centre part of the sky, but loose, coming forward. There is to be one sweep- ing movement through the whole air, an ascending movement, high and fathomless. The movement must connect with each part, taking great care with the articulation. A movement floating up. It is a study in movement, designed movement.

A movement floating up.

11. I’m Just Whizzy!

I’m just whizzy! Sold four pictures.

Received $120 for picture “Shoreline.” Gallery took

$30 commission from $150 sale price to Mrs. de Pencier. Also got $75 for three sketches from Miss de Pencier. What a help to finances!

Mr. Band has bought “Nirvana” for $200, Mr.

Southam “Haida Village” for $150, and Lawren Har- ris another for $200. A number of others are over in the East being sat on and considered.

Toronto Art Gallery has purchased “Western Forest,” “Movement in the Woods” and “Kispiax Village” for $1,075. I was stunned when I opened the letter. It is wonderful.

Ottawa has bought two canvases, a paper sketch,

“Blunden Harbour,” a Haida village and “Sky” for

$750. Madame Stokowski, wife of the composer and conductor, bought a small canvas for $75. Mr.

Southam

bought a small Skidigate sketch in oils for $150 and Mrs. Douglas a French cottage for $15. An old Vancouver pupil took a Pemberton sketch, also for

$15. How lucky

I am, or rather, how well taken care of!

15 15 150 75 750

$1005 Goodness!

POEMS / POÈMES

MISS CARR IN SEVEN SCENES

12. Uncovered

Perhaps what brought it home was the last two lines of a crit in a Toronto paper: “Miss Carr is essentially Canadian, not by reason of her subject matter alone, but by her approach to it.” I am glad of that.

I am also glad that I am showing these men that women can hold up their end. So I have decided to stop squirming, to throw any honour in with Canada and women. It is wonderful to feel the grandness of Canada in the raw, not because she is Canada but because she’s something sublime that you were born into, some great rugged power that you are a part of.I have uncovered “The Mountain.”

I think that one’s art is a growth inside one. I do not think one can explain growth. It is silent and subtle.

One does not keep digging up a plant to see how it grew. Who could explain its blossom? It can only explain itself in smell and colour and form. It touches you with these and the thing is said. These critics with their rules and words and theories and influ- ences make me very tired. It is listening; it is hunting with the heart. How can one explain these things?

—

texts by Emily Carr, selected and adapted by Jeffrey Ryan

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13. Desires

Like beautiful bodies of the dead who had not grown old and they shut them, with tears, in a magnificent mausoleum, with roses at the head and jasmine at the feet—

that is how desires look that have passed

without fulfillment; without one of them having achieved a night of sensual delight, or a moonlit morn.

14. The Next Table

He must be scarcely twenty-two years old.

And yet I am certain that nearly as many years ago, I enjoyed the very same body.

It isn’t at all infatuation of love.

I entered the casino only a little while ago;

I didn’t even have time to drink much.

I have enjoyed the same body.

If I can’t recall where—one lapse of memory means nothing.

Ah see, now that he is sitting down at the next table

I know every movement he makes—and beneath his clothes, once more I see the beloved bare limbs.

15. At the Theater

I was bored looking at the stage, and I lifted my eyes to the loges and I saw you in a loge

with your strange beauty, your dissolute youth.

And at once there came back to my mind all they had told me about you in the afternoon, and my mind and body were moved.

And while fascinated I gazed

at your tired beauty, your tired youth, your tastefully selected clothes, I imagined you and depicted you,

the way they spoke to me of you that afternoon.

16. Picture of a 23-year-old youth painted by his friend of the same age, an amateur

He finished the painting yesterday noon. Now he studies it in detail He has painted him in a gray unbuttoned coat, a deep gray; without any vest or any tie. With a rose-colored shirt;

open at the collar, so something might be seen also of the beauty of his chest, of his neck.

The right temple is almost entirely covered by his hair, his beautiful hair

(parted in the manner he prefers it this year).

There is the completely voluptuous tone

he wanted to put into it when he was doing the eyes, when he was doing the lips… His mouth, the lips

that are made for consummation, for choice love-making.

POEMS / POÈMES OF PASSION’S TIDE

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17. Before Time Changes Them

They were both deeply grieved at their separation.

They did not desire it; it was circumstances.

The needs of a living obliged one of them to go to a distant place— New York or Canada.

Their love certainly was not what it had been before;

for the attraction had gradually waned, for love’s attraction had considerably waned.

But they did not desire to be separated.

It was circumstances.— Or perhaps Destiny had appeared as an artist separating them now

before their feeling should fade, before Time had changed them;

so each for the other will remain forever as he had been, a handsome young man of twenty-four years.

18. Return

Return often and take me,

beloved sensation, return and take me—

when the memory of the body awakens, and old desire again runs through the blood;

when the lips and the skin remember, and the hands feel as if they touch again.

Return often and take me at night, when the lips and the skin remember…

—poems by C. P. Cavafy, translated by Rae Dalven

SO CRUMBLE INTO SAND 19. So Crumble into Sand I let my love harden like concrete But I’m still so incomplete

Don’t be so quick to harden like me There are cracks you do not see So crumble into sand

Sink into my being You’re all that I am

I am yang and you are my instinct to love Won’t you let our hearts beat in sync to love?

—poem by Mustafa Ahmed

POEMS / POÈMES

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CREDITS / CRÉDITS

Producer / Réalisateur: Lawrence Wiliford

Sound engineer, editing, and mastering / Ingénieur du son, montage et matriçage: Dennis Patterson

Recording location and dates / Lieu et dates d’enregistrement: Revolution Recording Studios, Toronto, Ontario. Miss Carr in Seven Scenes (2-4/06/2019) Found Frozen, "So Crumble into Sand" (22-23/08/2021), Of Passion’s Tide (28, 30/08/2021)

Piano engineer / Technicien du piano: Wayne Ferguson Music published by / Musique éditée par: Jeffrey Ryan.

Available at / Disponible chez: jeffreyryan.com

Translation / Traduction: Peter Sansom

Graphic design / Conception graphique: Dog and Pony Studios

Photos: (Jeffrey Ryan) Wendy D Photography; (Steven Philcox) Emily Ding; (Krisztina Szabó) Bo Huang; (Danika Lorèn) D. Lorèn; (Dion Mazerolle) H.

Luis Rutand.

Canadian Music Centre / Centre de musique canadienne: Glenn Hodgins, resident and CEO/Président et chef de direction Centrediscs / Centredisques:

Nicole Blain, Producer / Productrice

Special thanks to / Remerciements particuliers à: FACTOR, The Institute for Music in Canada, & Dog and Pony Studios for their generous support on this recording project / pour leur soutien généreux à ce projet de disque.

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The Canadian Music Centre is the catalyst that connects you to the ever-evolving world of Canadian musical creation through performance, education, and promotion. The CMC’s

Centrediscs label has been actively promoting the music of Canadian composers for over 35 years.

See our complete catalogue at www.cmccanada.org.

CMC Canada

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[email protected] Atlantic Region Région de l’Atlantique

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Le Centre de musique canadienne vous relie au monde toujours en mouvement de la musique de création, par le biais de concerts et d’activités éducatives et promotionnelles. L’étiquette

Centredisques du CMC se consacre à la musique des compositeurs canadiens depuis plus de 35 ans.

Consultez notre catalogue:

www.cmccanada.org.

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Found Frozen SONGS OF / CHANSONS DE J E F F R E Y R Y A N

FOUND FROZEN

1. Found Frozen ^3:13

2. Poppies on the Wheat ^3:37 3. Her Eyes ^7:32

—

Danika Lorèn soprano Steven Philcox piano

SO CRUMBLE INTO SAND

19. So Crumble Into Sand ^2:24

—

Danika Lorèn soprano Steven Philcox piano

MISS CARR IN SEVEN SCENES

4. Oh, These Mountains! ^4:02 5. A Glimpse of God ^4:13 6. Rhythm and Space ^3:53

7. Letters (Reams of Horrid Letters) ^1:09 8. Letters (Mr. Hatch Wrote) ^1:15

9. Letters (Compliments, Hanna Lund) ^3:08 10. A Movement Floating Up ^4:34

11. I’m Just Whizzy! ^2:20 12. Uncovered ^4:30

—

Krisztina Szabó mezzo-soprano Steven Philcox piano

OF PASSION’S TIDE

13. Desires ^3:01

14. The Next Table ^3:03 15. At the Theater ^2:43

16. Picture of a 23-year-old youth… ^2:05 17. Before Time Changes Them ^3:47 18. Return ^3:29

—

Dion Mazerolle baritone/baryton Steven Philcox piano

Total time / Durée totale: 63:58