≈ 60 minutes · No intermission
Last updated: September 10, 2024
Welcome to SPHERE 2024!
SPHERE celebrates the near-endless artistic and intellectual inspiration that our natural world awakens in us. Through the eyes, ears, and bodies of artists, and in this city at the confluence of rivers, we will explore the symbiosis between our creativity and the surroundings that catalyze it. We will reflect on our fragile relationship with Mother Earth and how the confluence of art, science, and ethics will inform the coming chapters in our shared history. As a wave of brilliant and visionary artists from across genres and generations sweeps into Canada’s National Arts Centre and at the Canadian Museum of History, we warmly invite you to join them and us on this journey of multi-disciplinary discovery and artistic dialogue.
Welcome to SPHERE 2024!
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THANK YOU TO OUR PARTNERS
Thank you to our visionary donors Earle O’Born and Janice O’Born, C.M., O.Ont. for their generous support of SPHERE.
Program
ANTONIO VIVALDI Le quattro stagioni (The Four Seasons) for violin and orchestra, Op. 8, Nos. 1–4
Concerto No. 1 in E major, Op. 8, RV 269, “La primavera” (Spring)
I. Allegro
II. Largo e pianissimo sempre
III. Danza pastorale. Allegro
Concerto No. 2 in G minor, Op. 8, RV 315, “L’estate” (Summer)
I. Allegro non molto
II. Adagio e piano – Presto e forte
III. Presto
Concerto No. 3 in F major, Op. 8, RV 293, “L’autunno” (Autumn)
I. Allegro
II. Adagio molto
III. Allegro
Concerto No. 4 in F minor, Op. 8, RV 297, “L’inverno” (Winter)
I. Allegro non molto
II. Largo
III. Allegro
There will be no intermission.
Texts and translations of Italian sonnets by Antonio Vivaldi
“La primavera” – Concerto No. 1
I. Allegro
Giunt’ è la Primavera e festosetti
La Salutan gl’ Augei con lieto canto,
E i fonti allo Spirar de’ Zeffiretti
Con dolce mormorio Scorrono intanto:
Vengon’ coprendo l’aer di nero amanto
E Lampi, e tuoni ad annuntiarla eletti
Indi tacendo questi, gl’ Augelletti;
Tornan’di nuovo al lor canoro incanto:
II. Largo e pianissimo sempre
E quindi sul fiorito ameno prato
Al caro mormorio di fronde e piante
Dorme ‘l Caprar col fido can’ à lato.
III. Danza pastorale. Allegro
Di pastoral Zampogna al suon festante
Danzan Ninfe e Pastor nel tetto amato
Di primavera all’ apparir brillante.
“Spring” – Concerto No. 1
I. Allegro
Festive Spring has arrived,
The birds salute it with their happy song.
And the brooks, caressed by little Zephyrs,
Flow with a sweet murmur.
The sky is covered with a black mantle,
And thunder, and lightning, announce a storm.
When they are silent, the birds
Return to sing their lovely song.
II. Largo e pianissimo sempre
And in the meadow, rich with flowers,
To the sweet murmur of leaves and plants,
The goatherd sleeps, with his faithful dog at his side.
III. Danza pastorale. Allegro
To the festive sound of pastoral bagpipes,
Dance nymphs and shepherds,
At Spring’s brilliant appearance.
“L’estate” – Concerto No. 2
I. Allegro non molto
Sotto dura Staggion dal Sole accesa
Langue l’ huom, langue ‘l gregge, ed arde il Pino;
Scioglie il Cucco la Voce, e tosto intesa
Canta la Tortorella e ‘l gardelino.
Zeffiro dolce Spira, mà contesa
Muove Borea improviso al Suo vicino;
E piange il Pastorel, perche sospesa
Teme fiera borasca, e ‘l suo destino;
II. Adagio e piano – Presto e forte
Toglie alle membra lasse il Suo riposo
Il timore de’ Lampi, e tuoni fieri
E de mosche, e mosconi il Stuol furioso!
III. Presto
Ah che pur troppo i Suo timor Son veri
Tuona e fulmina il Ciel e grandioso
Tronca il capo alle Spiche e a’ grani alteri.
“Summer” – Concerto No. 2
I. Allegro non molto
Under the heat of the burning summer sun,
Languish man and flock; the pine is parched.
The cuckoo finds its voice, and suddenly,
The turtledove and goldfinch sing.
A gentle breeze blows,
But suddenly, the north wind appears.
The shepherd weeps because, overhead,
Lies the fierce storm, and his destiny.
II. Adagio e piano – Presto e forte
His tired limbs are deprived of rest
By his fear of lightning and fierce thunder,
And by furious swarms of flies and hornets.
III. Presto
Alas, how just are his fears,
Thunder and lightening fill the Heavens, and the hail
Slices the tops of the corn and other grain.
“L’autunno” – Concerto No. 3
I. Allegro
Celebra il Vilanel con balli e Canti
Del felice raccolto il bel piacere
E del liquor de Bacco accesi tanti
Finiscono col Sonno il lor godere.
II. Adagio molto
Fà ch’ ogn’ uno tralasci e balli e canti
L’ aria che temperata dà piacere,
E la Staggion ch’ invita tanti e tanti
D’ un dolcissimo Sonno al bel godere.
III. Allegro
I cacciator alla nov’ alba à caccia
Con corni, Schioppi, e canni escono fuore
Fugge la belva, e Seguono la traccia;
Già Sbigottita, e lassa al gran rumore
De’ Schioppi e canni, ferita minaccia
Languida di fuggir, mà oppressa muore.
“Autumn” – Concerto No. 3
I. Allegro
The peasants celebrate with dance and song,
The joy of a rich harvest.
And, full of Bacchus’s liquor,
They finish their celebration with sleep.
II. Adagio molto
Each peasant ceases his dance and song.
The mild air gives pleasure,
And the season invites many
To enjoy a sweet slumber.
III. Allegro
The hunters, at the break of dawn, go to the hunt.
With horns, guns, and dogs they are off,
The beast flees, and they follow its trail.
Already fearful and exhausted by the great noise,
Of guns and dogs, and wounded,
The exhausted beast tries to flee, but dies.
“L’inverno” – Concerto No. 4
I. Allegro non molto
Aggiacciato tremar trà neri algenti
Al Severo Spirar d’ orrido Vento,
Correr battendo i piedi ogni momento;
E pel Soverchio gel batter i denti;
II. Largo
Passar al foco i di quieti e contenti
Mentre la pioggia fuor bagna ben cento
III. Allegro
Caminar Sopra ‘l giaccio, e à passo lento
Per timor di cader gersene intenti;
Gir forte Sdruzziolar, cader à terra
Di nuove ir Sopra ‘l giaccio e correr forte
Sin ch’ il giaccio si rompe, e si disserra;
Sentir uscir dalle ferrate porte
Sirocco, Borea, e tutti i Venti in guerra
Quest’ é ‘l verno, mà tal, che gioja apporte.
“Winter” – Concerto No. 4
I. Allegro non molto
Frozen and trembling in the icy snow,
In the severe blast of the horrible wind,
As we run, we constantly stamp our feet,
And our teeth chatter in the cold.
II. Largo
To spend happy and quiet days near the fire,
While, outside, the rain soaks hundreds.
III. Allegro
We walk on the ice with slow steps,
And tread carefully, for fear of falling.
If we go quickly, we slip and fall to the ground.
Again we run on the ice,
Until it cracks and opens.
We hear, from closed doors,
Sirocco, Boreas, and all the winds in battle.
This is winter, but it brings joy.
Artists
Since its debut in 1969, the National Arts Centre (NAC) Orchestra has been praised for the passion and clarity of its performances, its visionary educational programs, and its prominent role in nurturing Canadian creativity. Under the leadership of Music Director Alexander Shelley, the NAC Orchestra reflects the fabric and values of Canada, reaching and representing the diverse communities we live in with daring programming, powerful storytelling, inspiring artistry, and innovative partnerships.
Alexander Shelley began his tenure as Music Director in 2015, following Pinchas Zukerman’s 16 seasons at the helm. Principal Associate Conductor of the Royal Philharmonic Orchestra, and former Chief Conductor of the Nuremberg Symphony Orchestra (2009–2017), he has been in demand around the world, conducting the Rotterdam Philharmonic, DSO Berlin, Leipzig Gewandhaus, and Stockholm Philharmonic, among others, and maintains a regular relationship with the Deutsche Kammerphilharmonie and the German National Youth Orchestra.
Each season, the NAC Orchestra features world-class artists such as the newly appointed Artist-in-Residence James Ehnes, Angela Hewitt, Joshua Bell, Xian Zhang, Gabriela Montero, Stewart Goodyear, Jan Lisiecki, and Principal Guest Conductor John Storgårds. As one of the most accessible, inclusive, and collaborative orchestras in the world, the NAC Orchestra uses music as a universal language to communicate the deepest of human emotions and connect people through shared experiences.
A versatile theatre artist, Marie-Ève Fontaine works across Canada as an actor, puppeteer, and animator. Her theatre credits include roles in Les Zaventures de Zozotte for Théâtre de Dehors, Les fourberies de Scapin for Fâcheux Théâtre, and Le dire de Di by Michel Ouellette for Théâtre Catapulte and Théâtre français de Toronto. Marie-Ève also shares her passion for stories through puppetry and storytelling workshops. In addition to her work as an artist, Marie-Ève is involved in various cultural activities, notably as an advisor to the young ambassadors of the BIG BANG Festival at the National Arts Centre in Ottawa.
Yosuke Kawasaki currently serves as Concertmaster of the NAC Orchestra and Guest Concertmaster of the NHK Symphony Orchestra in Tokyo. His versatile musicianship allows him to pursue a career in orchestra, solo, and chamber music. His orchestral career began with the Montgomery Symphony Orchestra and soon led to the Mito Chamber Orchestra, the Saito Kinen Orchestra, and the Japan Century Orchestra, all of which he led as concertmaster. His solo and chamber music career spans five continents, collaborating with artists such as Seiji Ozawa, Pinchas Zukerman, and Yo-Yo Ma and appearing in the world’s most prestigious halls such as Carnegie Hall, Suntory Hall, and the Royal Concertgebouw.
Yosuke’s current regular ensembles are Trio Ink and the Mito String Quartet. His passion for chamber music led to his appointment as Music Director of the Affinis Music Festival in Japan. He is also an artistic advisor to the chamber music festival Off the Beaten Path in Bulgaria.
As an educator, Yosuke has given masterclasses and performed alongside students in schools across Canada. Well-versed in the string quartet literature, he was entrusted by Seiji Ozawa as the youngest faculty member of the Ozawa International Chamber Music Academy at age 26. He was also an adjunct professor of violin at the University of Ottawa School of Music from 2013 to 2022 alongside the beloved pedagogue Yehonatan Berick.
Yosuke began his violin studies at age six with his father, Masao Kawasaki, and Setsu Goto. He was subsequently accepted into The Juilliard School Pre-College Division, where he furthered his education. He graduated from The Juilliard School in 1998 under the tutorship of Dorothy DeLay, Hyo Kang, Felix Galimir, and Joel Smirnoff.
Canadian violinist of German and Lebanese ancestry, Jessica Linnebach, has established herself as an accomplished artist with a thriving multi-faceted career encompassing solo, chamber, and orchestral performances.
Known for her “burnt caramel sound, utterly fearless virtuosity…and romantic lyricism” (Artsfile), Jessica has performed as a soloist with orchestras around the world. A passionate chamber musician, Jessica is a member of the Ironwood String Quartet along with her NAC Orchestra colleagues Emily Kruspe, Carissa Klopoushak, and Rachel Mercer. They are frequent performers at various chamber music series and festivals, including the NAC’s WolfGANG and Music for a Sunday Afternoon series and Ottawa Chamberfest, Pontiac Enchanté, Ritornello, and Classical Unbound festivals. As part of a commitment to reaching broader audiences, Jessica is one of the Artistic Directors of the Classical Unbound Festival, a chamber music festival in Prince Edward County, Ontario.
Accepted to the world-renowned Curtis Institute of Music in Philadelphia at age ten, Jessica remains one of the youngest-ever Bachelor of Music graduates in the school’s history. While there, Jessica’s primary teachers were Aaron Rosand, Jaime Laredo, and Ida Kavafian. At 18, she received her Master of Music from the Manhattan School of Music in New York City, where she studied with Pinchas Zukerman and Patinka Kopec.
Jessica resides in Ottawa, where she has been Associate Concertmaster with the NAC Orchestra since 2010. A natural leader, Jessica has performed numerous times as guest concertmaster with the Pittsburgh Symphony Orchestra, the Indianapolis Symphony Orchestra, and the Buffalo Philharmonic Orchestra.
Jessica plays a circa 1840 Jean-Baptiste Vuillaume (Guarnerius del Gésu 1737) violin. Her bows are crafted by Ron Forrester and Michael Vann.
Toronto-born violinist Emily Kruspe has a great love for musical collaborations, chamber music, harmony, and rhythmic groove. She has performed extensively throughout North America and Europe, most notably with the Rolston String Quartet from 2018 to 2020. Emily regularly performs with the Toronto-based ARC Ensemble and is featured on its newest CD, Chamber Works by Alberto Hemsi. Her love of chamber music stems from festivals she attended in her youth: Yellow Barn, the Kneisel Hall Chamber Music Festival, the Banff Centre, and the Domaine Forget Chamber Music Festival. As an orchestral musician, Emily has performed with the Toronto Symphony Orchestra, the National Ballet Orchestra of Canada, and the Canadian Opera Company Orchestra. She was a winner of the Glenn Gould School’s Concerto Competition and the University of Toronto Concerto Competition, a recipient of the Orford String Quartet Scholarship, and was previously a CBC Young Artist. In 2018, she was named one of CBC’s hot Canadian classical musicians under 30.
Emily completed her undergraduate studies at the University of Toronto under Erika Raum, received an Artist Diploma from the Glenn Gould School under Paul Kantor and Barry Shiffman, and studied at the Colburn School with Martin Beaver. She was a 2017–2018 fellow of the Rebanks Family Fellowship and International Performance Residency Program at the Royal Conservatory in Toronto and was subsequently awarded a violin from the Canada Council for the Arts Musical Instrument Bank. Emily has been a proud member of the National Arts Centre Orchestra since October 2022 and regularly plays with the Ironwood Quartet, composed of NACO colleagues Jessica Linnebach, Carissa Klopoushak, and Rachel Mercer. When she isn’t playing music, she can be found cycling, teaching, and walking her cats, Figaro and Rosie, around the perimeter of her house, repeatedly.
A dedicated champion of contemporary music, Montreal-born violinist Noémi Racine Gaudreault is renowned for the virtuosity and sensitivity of her playing. She has performed as a soloist in orchestras across Canada, the United States, France, and Turkey. In addition to her career as a soloist, Noémi is a much sought-after chamber musician, playing regularly in contemporary and chamber music festivals. She has been the Principal Second Violin of the Orchestre Métropolitain and solo violin of the SMCQ, the ECM, and the Quartango Ensemble. She holds a First Prize with Great Distinction from the Montreal Music Conservatory and an Artist Diploma from McGill University. Noémi currently lives in the National Capital Region. She is Assistant Concertmaster of the National Arts Centre Orchestra.
Canadian violinist Emily Westell has established herself as a versatile musician. Since her debut as a soloist with the Calgary Philharmonic Orchestra at age 15, she has performed as soloist and conductor with the Orchestre de chambre de Paris and has played concerti with the Tanglewood, Banff Festival, and University of Calgary orchestras. A winner of the 2012 Canada Council for the Arts Musical Instrument Bank Competition (loan of the 1717 Windsor-Weinstein Stradivari), she was awarded the 2013 Astral Artist Prize from Canada’s National Arts Centre. Emily has performed chamber music and solo recitals in Paris (Cité de la Musique), New York (Carnegie’s Weill Recital Hall), Boston (Jordan Hall), and the Netherlands (International Holland Music Sessions). Her concerts have been broadcast on CBC and Radio-Canada.
Emily has performed at the festivals of Prussia Cove, Norfolk, Spoleto USA, Orford, Meadowmount, and Lanaudiere. An advocate for new music, Emily has performed with the Harvard Group for New Music, Columbia Composers, Boston’s Callithumpian Consort, and on the Land’s End Chamber Ensemble CD, Rollin’ Down #1, winner of the Western Canada Music Award for Outstanding Classical Album. She is a former instructor of violin and chamber music at McGill University.
Emily recently completed post-doctoral professional studies with Pinchas Zukerman in the Manhattan School of Music’s prestigious Zukerman Performance Program with a President’s Award. Her previous teachers include Edmond Agopian, Miriam Fried, and Jonathan Crow. She holds a Doctor of Music from McGill University (where she was an SSHRC Doctoral Fellow), a master’s degree from the New England Conservatory, and the Fine Arts gold medal from the University of Calgary for the top graduate.
Jeremy Mastrangelo has performed regularly with the National Arts Centre Orchestra since the end of 2011 and was appointed a full-time member in 2014.
Previously, Jeremy was the associate concertmaster of the Syracuse Symphony Orchestra from 2001 until 2011 and was designated the orchestra’s next concertmaster in 2010. During his tenure with the SSO, he was a featured soloist on multiple occasions, including for performances of Bach’s Concerto for two violins with Jaime Laredo, Brahms’s “Double Concerto,” the Sibelius violin concerto, and Vivaldi’s The Four Seasons. He has been a guest concertmaster with the Kalamazoo Symphony Orchestra, Fort Wayne Philharmonic, Omaha Symphony, Oregon Symphony, and the National Ballet of Canada. Before his work in Syracuse, Jeremy was co-concertmaster of the New World Symphony in Miami. Jeremy has been a finalist in the Stulberg International String Competition and was the top prize winner in the National Federation of Music Clubs student auditions. In addition to his orchestral career, Jeremy performs frequently in solo recitals and chamber music concerts and has been featured in the Syracuse Friends of Chamber Music series on several occasions. He has also performed with the Chamber Players of Canada and Kathleen Battle and in the NAC Orchestra’s Music for a Sunday Afternoon series. From 2004 to 2009, he was an Affiliate Artist faculty member at Syracuse University.
Jeremy spent seven summers performing at festivals in Colorado with his wife Sara, who is also a violinist. First, as a quartet musician at the Steamboat Springs’ Strings Music Festival, and for the next six years, he performed with the Breckenridge Music Festival Orchestra under conductor Gerhardt Zimmerman. For his final two summers, he served as concertmaster for the BMF, and in that capacity, he soloed with the orchestra and was featured on a recording of Piazzolla’s Four Seasons of Buenos Aires. Jeremy holds degrees from the Cleveland Institute of Music and the University of Michigan, where he studied with William Preucil and Paul Kantor. Jeremy resides in Ottawa with his wife and two children, both of whom play piano and violin, in addition to their interests in baseball, basketball, dance, art, and most anything Star Wars–related.
Vancouver-born violist Jethro Marks was appointed Principal Viola of the National Arts Centre Orchestra in the spring of 2011. He has performed as a soloist and chamber musician throughout the United States, China, Mexico, Europe, and Canada and is a frequent collaborator with many artists and ensembles. Jethro is the first violist of the Zukerman Chamber Players, a string ensemble led by Pinchas Zukerman that has completed highly acclaimed tours of festivals in Canada, the U.S.A., Europe, China, South America and New Zealand. The ensemble released its fourth CD in 2008.
One of five brothers growing up in a musical family, Jethro first studied violin with his father, who played in the Vancouver Symphony Orchestra. While attending Indiana University at Bloomington, he became intrigued by the rich, dark sound of the viola. He began to switch his focus and started studying with violist Atar Arad. Awards included first prize in the Kuttner Quartet Competition, first prize in the Concerto Competition, and the prestigious Performers Certificate. In 1998, Jethro was accepted into the Zukerman Program at the Manhattan School of Music as the only violist, and he won first prize in the MSM Concerto Competition. Jethro first participated in the National Arts Centre’s Young Artist Program in 1999, returning the following summer. He returned to the NAC Summer Music Institute in 2000 and 2001 as a mentor and made his CBC Radio debut in 2003, performing Paganini’s 24th Caprice on viola.
An avid chamber musician, he has collaborated with some of the most illustrious artists and chamber groups of our day, including Leon Fleisher, Lynn Harrell, Gary Hoffman, Jaime Laredo, Michael Tree, Itzhak Perlman, Yefim Bronfman, Emanual Ax, and the Orion Quartet, and has participated in festivals around the world, including the Verbier Festival, the Santa Fe Chamber Music Festival, the Festival de musique de St. Barthelemy, the Banff Festival of the Arts, the Lanaudière Festival, the Agassiz Festival, the Ravinia Festival, the Aspen Music Festival, the Tanglewood Festival, Musica Mundi in Belgium, Schleswig-Holstein in Germany, and Mostly Mozart, as well as the 92nd St. Y, Jupiter, and Lyric Chamber Music Societies in New York City. Jethro is frequently featured in chamber music concerts in the National Arts Centre’s Music for a Sunday Afternoon series and at Ottawa Chamberfest.
He made his solo debut with the National Arts Centre Orchestra in 2004, playing Harold in Italy, and he premiered the Steven Gellman Viola Concerto with the Ottawa Symphony Orchestra in 2007. In 2014, he performed Malcolm Forsyth’s concerto with cellist Amanda Forsyth. He frequently collaborates with Ottawa pianist Mauro Bertoli and plays numerous recitals throughout Canada.
In 2014, after 12 years of living abroad, violist David Marks returned to Canada to accept the position of Associate Principal Viola with the NAC Orchestra. Born in Vancouver, David grew up in Virginia in the heart of a musical family. He experimented with composing, writing, drawing, and painting from an early age. These passions have resulted in dozens of original songs, paintings, and murals. His viola studies took him across the U.S. and Europe for lessons with Roberto Diaz, Atar Arad, Karen Tuttle, Gerard Caussé, Thomas Riebl, and Nobuko Imai; to the Banff Centre; L’Académie de Musique Tibor Varga; and Prussia Cove.
In Europe, David performed as Principal Viola with L’Orchestre de Montpellier and L’Opera de Bordeaux, La Orquesta de la Ciudad de Granada, Holland Symfonia, and Amsterdam Sinfonietta. He was Principal Viola of the London Philharmonic Orchestra under the batons of Vladimir Jurowski, Christoph Eschenbach, Yannick Nézet-Séguin, and Marin Alsop. As a fixture on the contemporary music scene, he performed across Europe with the Asko/Schonberg Ensemble, Ensemble Modern, the Mondriaan Quartet, Fabrica Musica, and Nieuw Amsterdamse Peil. He was a member of the avant-garde Dutch contemporary music group Nieuw Ensemble, with whom he toured China and recorded over 40 works.
As a folk musician, David has toured Latvia, Lithuania, and Estonia, singing his songs with The History of Dynamite. His folk opera The Odyssey was performed at the Banff Centre and subsequently at Theater de Cameleon in Amsterdam. He plays fiddle and guitar and has performed with Van Dyke Parks, Bill Frisell, and Patrick Watson.
He lives with his wife and four children in Wakefield, Quebec.
Described as a "pure chamber musician" (The Globe and Mail) creating "moments of pure magic" (Toronto Star), Canadian cellist Rachel Mercer has appeared as a soloist and chamber musician across five continents.
Grand prize winner of the 2001 Vriendenkrans Competition in Amsterdam, Rachel is Principal Cello of the NAC Orchestra in Ottawa and Co-Artistic Director of the "5 at the First" Chamber Music Series in Hamilton and Orleans, Ontario. Rachel plays with the Mercer-Park Duo, the St. John-Mercer-Park Trio and the Ironwood Quartet, and was cellist of the JUNO award-winning piano quartet Ensemble Made In Canada (2008-2020), the AYR Trio (2010-2020), and the Aviv Quartet (2002-2010). She has given masterclasses across North America, South Africa and Israel and talks on performance and careers in music.
An advocate for new Canadian music, Rachel has commissioned and premiered over 30 works, including cello concerti by Stewart Goodyear and Kevin Lau, as well as solo and chamber works by Vivian Fung, Andrew Downing, Alice Ho, David Braid, Kelly Marie-Murphy, John Burge, and Jocelyn Morlock. Recent chamber and solo albums include Kevin Lau: Under A Veil of Stars (Leaf Music), Our Strength, Our Song (Centrediscs), John Burge: One Sail (Naxos), Alice Ho: Mascarada (Centrediscs), and from 2012, the complete Bach Suites (Pipistrelle) with the 1696 Bonjour Stradivarius Cello from the Canada Council for the Arts Musical Instrument Bank. Rachel currently plays a 17th-century cello from Northern Italy.
Assistant Principal Cello of the National Arts Centre Orchestra since 2014, Julia MacLaine performs worldwide as a soloist, chamber, and orchestral musician in music ranging from classical to contemporary and from “world” to her own arrangements and compositions.
Most recently, she has performed with her string quartet Ironwood in Mahone Bay (NS), at the Indian River Festival (PEI), and their own Classical Unbound Festival in Prince Edward County. The quartet has appeared at the WolfGANG Sessions and the Music for a Sunday Afternoon series in Ottawa, at Ritornello Festival (SK), and in Paris. Their programs combine classical warhorses (Beethoven, Ravel, Debussy) with very new music (works by Ana Sokolovic, Nicole Lizée, Bryce Dessner, Philip Glass, Esa‐Pekka Salonen) and occasionally veer off into their own arrangements of original songs and folk music.
During the ten years she spent living in New York City, Julia collaborated frequently with composers, giving voice to new works for solo cello. Most notably, she has been a champion of Pedro Malpica’s Pachamama’s Catharsis. Julia could often be heard on all three stages at Carnegie Hall. As a member of Ensemble Connect (previously ACJW), she performed numerous chamber music concerts at Weill and Zankel Halls, notably as the soloist in Tan Dun’s concerto Elegy: Snow in June. She also played frequently in Stern Auditorium as a member of the Orchestra of St. Luke’s and as principal cellist for Osvaldo Golijov’s Pasion selun San Marcos. From 2005 to 2014, she was a member of the Brooklyn‐based chamber orchestra The Knights, with whom she performed the Schumann Cello Concerto in 2012 in Central Park and for live broadcast by WQXR. The Grammy‐nominated ensemble collaborates regularly with artists such as Gil Shaham, Renée Fleming, and Yo‐Yo Ma and has recorded several albums for, among others, Sony Classical.
An entrepreneurial musician, Julia co-founded the New York group the Ikarus Chamber Players, an ensemble that married classical chamber music with other art forms in their own concert series in auction houses, art galleries, and other unique venues. With her colleagues in the Academy (Carnegie and Juilliard‐led fellowship connected to Ensemble ACJW/Connect), she formed the chamber music collective Decoda to develop community chamber music residencies around the world. With Decoda, Julia has performed at the Mecklenberg‐Vorpommern Festival in Germany, Abu Dhabi, Suntory Hall in Tokyo, and across the United States. She has also appeared at the Lanaudière, Bic, Mostly Mozart, Tanglewood, and Ravinia festivals.
Julia has performed with the Deutsche Kammerphilharmonie Bremen and Les Violons du Roy, and her chamber music collaborators include Itzhak Perlman, Jackie Parker, Pinchas Zukerman, members of the Orion String Quartet, Ani and Ida Kavafian, Inon Barnatan, and Cynthia Phelps.
Originally from Prince Edward Island, Julia studied with Antonio Lysy at McGill University (BMus), Timothy Eddy at the Mannes College of Music (Artist Diploma), and The Juilliard School (MMus).
Max Cardilli joined the National Arts Centre Orchestra as Assistant Principal Double Bass in 2022. Formerly a member of the Edmonton Symphony Orchestra (2017–2022), he has performed and recorded with numerous orchestral ensembles and chamber groups and even as a soloist with the ESO in 2020. In 2017, he participated in the NAC Orchestra’s Institute for Orchestral Studies program, where he played with the orchestra and studied under Joel Quarrington. In 2015, he earned his bachelor’s degree in double bass performance from McGill University, having studied with the former associate principal double bass for the Montreal Symphony Orchestra, Brian Robinson. Originally from Montreal’s West Island, Max was introduced to the double bass at Lindsay Place High School and went on to participate in local youth orchestras, eventually spending summers training with the National Youth Orchestra of Canada and the National Academy Orchestra. When not in rehearsal or concert with the NAC Orchestra, you might find Max outside skiing or cycling in beautiful Gatineau Park.
Thomas Annand was a student of Graham Steed, John Grew, and Marie-Claire Alain. In 1987 he won First Prize at the RCCO National Organ Competition and since then has pursued an active career as a performer on organ, harpsichord, and as conductor. He has been Director of Music at St. Andrew’s Church, Ottawa since 1992, giving over 200 recitals there including a series of weekly recitals where he performed a vast repertoire including the ten symphonies of Widor, the complete organ works of Liszt, Franck, and Mendelssohn. As harpsichordist he performed all the major works of Bach in seven marathon recitals in 2004–2005. He has performed as a soloist with the National Arts Centre Orchestra and Les Violons du Roy, touring with them to Carnegie Hall on three occasions. He has been a featured artist in the Boston Early Music Festival, the Carmel Bach Festival, the International Congress of Organists, and the Ottawa International Chamber Music Festival. As a conductor he was the founder of Capital BrassWorks with whom he recorded for the CBC SM5000 series, and a frequent guest conductor of the Thirteen Strings. He has appeared on film (Denys Arcand’s Le Règne de la beauté), radio, and television. In addition he has had his choral music published and performed and has contributed continuo realizations to editions of early music. Thomas Annand is a Fellow of the RCCO for which he has worked as an examiner and a jury member for the Organ Playing Competition, and is a past-Chair of the Ottawa Centre.
OrKidstra is an Ottawa-based social development program, which gives children from underserved areas the opportunity to learn life skills—such as teamwork, commitment and responsibility—through the joys and challenges of singing and playing music together.
OrKidstra’s mission is to empower kids and build community through music. OrKidstra accomplishes this mission by providing children from underprivileged communities with free instruments and lessons, giving them the chance to reach for success through music.
The program began in 2007 with 27 children and the passionate belief in the transformative power of music. It has since grown to include over 700 children, ages 5 to18, from 42 cultural and linguistic backgrounds, and has become a world-class example of why music is called the universal language.
In high-demand for their energy and musicianship, OrKidstra has performed on the Juno Awards broadcast, on Parliament Hill as part of the Canada Day 150 Celebrations, and many more. The charity is grateful to have the support of two OrKidstra Ambassadors: acclaimed pianist Angela Hewitt, C.C., O.B.E, and Alexander Shelley, Music Director, NAC Orchestra.
Laurie began her stage management career with English Theatre and Jean Roberts’s company at the National Arts Centre. Since then she has been honoured to work with NAC English Theatre, NAC Indigenous Theatre, the National Arts Centre Orchestra, and NAC Popular Music and Variety. Laurie has been Production Stage Manager for the Shaw Festival and Theatre Calgary, and Stage Manager for, amongst others, Arts Club Theatre Company, The Globe Theatre, Royal Manitoba Theatre Centre, Mirvish Productions, Stratford Festival, Great Canadian Theatre Company, Grand Theatre, Theatre New Brunswick, and Neptune Theatre.
Credits
Narrator, “Spring”
Shania Braunovan (from OrKidstra)
Narrator, “Summer”
Jayda Smith-Desir (from OrKidstra)
Narrator, “Fall”
Amar Marouf (from OrKidstra)
Narrator, “Winter”
Jayden Smith-Desir (from OrKidstra)
The National Arts Centre Foundation would like to thank Mark Motors Group, Official Car of the NAC Orchestra, and Earle O’Born & Janice O’Born, C.M., O.Ont. The NAC Orchestra Music Director role is supported by Elinor Gill Ratcliffe, C.M., O.N.L., LLD (hc).
