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VRS Surprise Gift Concert

Four years ago the Vancouver Recital Society launched a new venture – an annual ‘surprise gift concert’. The concerts have been held in the intimate and acoustically superb Telus Theatre in the Chan Centre for the Performing Arts. It is one of Vancouver’s most special venues for chamber music. As the person responsible for choosing the musician/s for the annual surprise, I can tell you that the pressure is on to deliver something extraordinary each time.

I have always characterized the VRS audience as being one of the most trusting and adventurous audiences on the continent, and this is borne out by the fact that well over 100 people turn up for a performance of which they have no advance knowledge. This type of event is at the very core of the VRS…which is to surprise and delight audiences who come without any pre-conceived opinions about whom or what they are going to hear.

Our surprise concert last Saturday was indeed such an event. Violinist, Pamela Frank, returned to Vancouver after an absence of 13 years and together with violinist, Arnaud Sussman, and violist, Dmitri Murath, they delighted and entranced the audience with their warmth, sparkle and deep musicality.  There was a very special atmosphere in the hall, and five days later I’m still glowing with happiness.

David Gordon Duke described the concert as “a cross between a family reunion and the best sort of salon” in his wonderful blog on the Vancouver Sun website.

Get wind of this…

I regularly receive e-newsletters from the Borletti-Buitoni Trust in London, and this most recent one contains a blog by Ramon Ortega Quero, the young Spanish oboist who will be gracing our stage at the Playhouse on Sunday, April 25.  If you don’t already have a ticket to this amazing young musician’s concert, try to finish reading his blog before you actually call the VRS or Ticketmaster.  No-one makes a more persuasive case for attending this concert than Ramon himself.  His blog highlights what it is that is so wonderful about working with young musicians on their way up.

Before you read what Mr. Quero has to say, I thought that you might like a little background on the Borletti-Buitoni Trust, or BBT, as it is known. The Borletti-Buitoni Trust was established in April 2002 to help young concert artists, in as flexible and innovative ways as possible, to develop and sustain burgeoning international careers.  Working in partnership with managers, concert promoters, broadcasters, publishers and recording companies the Trust aims to nurture selected musicians by encouraging their musical growth and providing an extended platform of opportunities which will help them gain greater public recognition.  BBT Trustees include internationally renowned pianist Mitsuko Uchida DBE.

As a presenter who delights in discovering young talent, I was canvassed to nominate a young artist in the early days of the trust.  I am happy to say that our nominee, the young Canadian baritone, Joshua Hopkins, was one of the artists they chose.   If you go on to their website http://www.bbtrust.com you will see a fairly substantial representation of VRS alumni!

Here, then, from the BBT newsletter is Ramon’s blog:

Still on Cloud Nine

My trip starts one evening in mid-September 2007:

There we were three young oboists at Herkulessaal in Munich, after having played Strauss Concerto with the Bavarian Radio Symphony Orchestra at ARD´s competition finals. The Jury came to stage, we were down where the audience sits, waiting for the result.

I was awarded first prize, something that didn´t happened at the oboe competition for 40 years! Of course, I didn´t expect it! I became the third one to get it in the competition´s history, after Heinz Holliger and Maurice Bourgue, and this means a lot. I remember from that moment I started to fly: I went to the stage to take my prize, talk to the press, have dinner with the Jury… it was a long evening and day.

I could never imagine that it would happen. I was not totally conscious of the situation that evening and the following days.  I couldn’t possibly imagine what it would mean to have got the first prize that evening. I was just 19 years old, and all was very new for me.

In the following months, I changed my residence to Germany, I got many concert invitations as a soloist, for chamber music, for playing in great orchestras as principal oboe, my manager came to me, I got the position of Principal oboe in the Bavarian Radio Symphony Orchestra… All these things were really something that I never imagined to get as a 19-year-old! For me it was a dream that I wished to get, but never expected it so soon. My life just changed completely! Travelling everywhere for playing concerts, visiting many new cities, meeting so many different people, starting my work in the orchestra, where I have the luck to work with the greatest conductors and soloists of our time, living abroad…

It has taken me more than a year to get used to that big change, and still today I find myself dealing with things that I wouldn´t have expected so soon, like for example, right now, getting a Borletti Buitoni Trust fellowship.

This means a big help for me at the moment: We were having some contacts for CD productions with my agent, some conversations were opened, but it is really difficult today to make a project reality. With the support of BBT things are moving forwards. I have felt, from the first moment I have got the fellowship and got into the family of BBT, that it means a big push for my career.

Getting into the BBT family just gives a new air to all my projects: a CD will be released next Autumm. Probably I will take it with me on my “Rising Stars” tours, next season, where I will play on the greatest concert halls in Europe like Concertgebouw Amsterdam, Philharmonie Cologne, Konzerthaus Viena, Hamburg Elbphilharmonie, etc..

And what I feel more important is the support that BBT is already giving me:

They want to be involved in my projects, offering me all the help that they can. All the publicity that comes together with getting a prize. All their knowledge about the classical music world and market. It makes me very excited and happy to have them on my side.

I just can be so thankful for all this help, it lets me take a new breath, have new fresh ideas and continue with this life, this flying I started 2 years ago.  I am still on the air! Thanks Life!

What’s so special about ‘special’?

Each season, as we prepare our new brochure, I stew over the concept of concerts we list therein as ‘special’ concerts.  These so-called ‘special’ concerts are generally performed by artists who are well known, who will attract larger audiences (we always hope) and they are not part of any of our series concerts.  What I hate about the word ‘special’ is that it implies that the other concerts on the series are not special.  I like to think that each and every concert we present IS special, or at least has the potential of being special. That depends, of course, upon how you interpret the word special.

I believe that people who buy tickets to live events know that they are taking chances, and that the outcome could be way beyond their expectations, or alternatively, rather disappointing. Not all performances can make time stand still, but when they do, and you can feel an audience collectively holding its breath, it’s probably worth five times the price of the ticket.  The trouble is that too many presenters promise the earth, and I think that the worst thing one can do is disappoint someone who is new to the art form, because that probably guarantees that they won’t return.

The concerts we present at the Vancouver Recital Society are ‘one offs’. One performance only. One chance to be blown away. Each is unique, which is what makes it special.  So what then, is the word that we can use to replace ‘special’ for the concerts in the larger venues?  Suggestions anyone?

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