Left to right are Joan Beckow, Claire Klein Osipov, Wendy Bross Stuart and Jessica Stuart, in 2010. (photo by Ron Stuart)
Canceled more than two years ago because of COVID, With a Song in My Heart, a special concert for Jewish Senior Alliance’s spring forum, is back. And it’s even more special.
The May 15, 2 p.m., performance at the Peretz Centre, led by Wendy Bross Stuart, is dedicated to Claire Klein Osipov and Joan Beckow.
“We were originally scheduled to present this program in March 2020. We were well-prepared. Even Claire came over to rehearsal on March 16, 2020 – so she could shep naches from her daughter Lisa’s singing, and she gave us some ‘notes’ to include. Lisa [Osipov Milton] and I were using the very musical arrangements I had created for Claire. Then, COVID happened and the program was ‘postponed.’ In August 2020, Claire passed away.
“Fast-forward to 2022. Two of the singers [David Urist and Osipov Milton] were unavailable. Erin Aberle-Palm was available, and I was thrilled to have her on board. Kat Palmer and Chris Adams had been involved in the recording sessions for the Joan Beckow Legacy Project, completed in February. Chris agreed to join us for a Beckow duet – with Kat.”
Beckow passed away in January 2021.
“About 18 months before,” said Bross Stuart, “my daughter Jessica had come with me to the Louis Brier Home to visit Joan. She asked Joan for her blessing for us (mother and daughter) to record and orchestrate many of Joan’s songs. Joan was visibly touched. She gave us her blessing to proceed. And proceed we did. The Joan Beckow Legacy Project, funded generously by the Canada Council and the Ontario Arts Council, has included the recording and orchestration of 22 of Joan’s pieces, by 30 musicians, in Toronto and Vancouver. Plus a documentary on Joan’s life (directed by my husband, Ron Stuart) and much more. Assistance and support also came from Joan’s son, David.”
Most of the project has taken place during COVID. About the pandemic’s effects, Bross Stuart said, “To make an effort to be positive, I would say, having more time has allowed Jessica and I to create the Joan Beckow Legacy Project and collaborate in every way. The music and the mutual respect have been well beyond my expectations and – as [fellow community member] Sharon Kates added – a mitzvah for everyone. Especially for people who do not yet know the breadth of Joan’s musical output, it will be a stunning discovery.”
With the developments of the past two years, the musical program for the JSA forum has changed from what it was in 2020.
“It includes Yiddish songs – for example, ‘Tum Balalaika,’ ‘Rozhinkes Mit Mandlen’ – in Claire’s memory, and many Joan Beckow songs, recently recorded in studio, including ‘On the Other Side of Nowhere’ and ‘Tov L’Hodot,’” said Bross Stuart, noting that every composer of every song in the program is Jewish.
The Yiddish songs are from the repertoire that Klein Osipov and Bross Stuart presented over the many years they worked together.
“We have a piece of music which says, ‘Because I knew you, I have been changed … for good,’” said Bross Stuart, referring to the song “For Good,” written by Stephen Schwartz. She added, “David Beckow chose his mother’s own lyrics to inscribe on her gravestone: ‘When this life is over, we will meet somehow, on the other side of nowhere, on the far side of now.’ Kat will sing it.”
The Stuarts and Beckows are longtime friends.
“We met Joan about 50 years ago, when her husband, Jack, was Ron’s anthropology student at UBC. Joan’s music was absolutely magic. When she asked me to assist her with the music direction of a show she was working on, I said yes as soon as I saw/heard one of the lead singers – Claire Klein Osipov!
“Joan and I worked together on choral pieces, on musical theatre pieces, on Jewish liturgical pieces and on classical pieces. I organized the publication of a number of her works, and public performances as well. Her music and her friendship enhanced our lives – and inspired my daughter, Jessica, to become a composer and musician. Joan was a mentor.”
Bross Stuart explained her interest in Yiddish music.
“Growing up in a New York City suburb (Yonkers),” she said, “my grandmother lived with us while I was growing up. Although her most comfortable language was Yiddish (Galitzianer variety), she spoke accented English to me. Yiddish was not what my parents wanted me to speak. This, of course, made Yiddish so much more interesting to me. Years later, in Vancouver, working with Claire and creating musical arrangements for all those songs – four CDs’ worth – required a detailed understanding of the Yiddish. The German I had studied in high school and at McGill was helpful, but working with Claire was even more helpful. We did a lot of concert work together, and I would say that our daughter Fiona grew to love Yiddish as a result. Another mentor for us!”
With a Song in My Heart is JSA’s first hybrid event, taking place live at the Peretz Centre, with streaming links available for YouTube, Vimeo or Zoom. Registration is required in both instances. If attending in-person, proof of vaccination is also required. Visit jsalliance.org, email [email protected] or call 604-732-1555.
Surplus Production Unit’s Briony Merritt. (photo by Alex McLean)
No matter how well we document history, it matters little unless people are aware of it. Two very different productions at this year’s Chutzpah! Festival, which began this week, were born of personal discoveries of documents from the past – in one case, a trial transcript; in the other, Yiddish compositions. The artists’ unique interpretations help ensure that important aspects of our culture are not forgotten.
Halifax-based Surplus Production Unit, under the direction of Alex McLean, performs A Timed Speed-Read of the Triangle Shirtwaist Factory Fire Trial Transcript on Nov. 21 and 22 at the Jewish Community Centre of Greater Vancouver, in the Wosk Auditorium. Montreal’s Josh “Socalled” Dolgin performs music from his album Di Frosh with a local quartet at the JCC’s Rothstein Theatre Nov. 19 in a concert that will also be livestreamed.
“I had never heard of the Triangle Shirtwaist fire until 2010, when I was doing research for an MA in Toronto,” McLean told the Independent. “I was totally fascinated by the case and got especially swept up in the extensive trial transcript.”
Triangle Shirtwaist Company owners Max Blanck and Isaac Harris were put on trial for manslaughter after a fire at their factory on March 25, 1911, killed 146 people – mostly women and girls – in part because one of the exit doors was locked.
“I think the gender politics were what initially stood out to me – it was an all-male jury, the case hinged on the discrediting of female witnesses, and it was all taking place at a time when women weren’t able to vote in either Canada or the United States. I also knew that this was a time when the labour movement was massive globally and that the Ladies Garment Workers Union had waged its major strike just a couple years earlier. The way that this all reads as subtext in the trial transcript was fascinating to me. I knew that I wanted to work with the material somehow, but wasn’t sure how.”
In 2011, during the 100th anniversary year of the fire, McLean saw an interview with Charles Kernaghan, director of the Institute for Global Labour and Human Rights, who mentioned the Hameen factory fire in Dhaka, Bangladesh. “And then there was the Tazreen factory fire in 2012 and then the collapse of the Rana Plaza building in Dhaka in 2013,” said McLean. “It all made the record of what happened in New York in 1911 hauntingly relevant.
“Somewhere around this time,” he said, “I got a small grant to create a verbatim script from the transcript. I started work on it but it felt lifeless, like a bad ‘historical drama.’ So, I gathered a few actors who I knew and trusted and who were interested in the material. We started playing around with ways to approach the material that felt honest and the current production grew from there.”
McLean believes “it is endlessly worthwhile to think about the hidden costs in our global economy and the conditions under which so many of the products we consume are created.” At the same time, he added, “I was very aware that my life – like those of my colleagues – was radically different from the lives of the people in the trial transcript. None of us are immigrants, none of us are Jewish or Italian (as were almost all of the Triangle victims). As middle-class Canadians in the 21st century, I felt that we had to acknowledge the gulf between us and those New York factory workers in 1911. We had to build this distance into the structure of the show, and so this idea emerged that we would actually sit the trial transcript on the stage and the performance would be a group of people engaging with this historical record, rather than trying to represent it realistically. This felt like the only way we could approach the material respectfully.”
Throughout the trial, said McLean, “witnesses, especially women, were treated with palpable disrespect. Max Steuer, the lawyer defending the factory owners, repeatedly tried to cast suspicion on witness testimony. This came to a head in his cross-examination of Kate Alterman, the ‘star witness’ for the prosecution. Knowing that Alterman’s English wasn’t great, Steuer had her repeat her testimony multiple times to make it appear rehearsed. This ultimately worked for him.
“There’s also a fascinating class dynamic at play: Steuer and his clients, Isaac Harris and Max Blanck, were themselves Jewish immigrants who had worked their way up in New York’s garment district. While at times they appear callous towards the victims and survivors, there is also this sense that they come from the same place. The prosecutor, on the other hand, comes across as much more of a patrician and, at times, this results in condescension. To him, the victims are helpless little girls, while the defence tries to portray them as streetwise conspirators plotting their revenge. Their actual messy humanity gets lost in the crossfire.”
Justice was not served by the trial, nor other legal measures, but there were positive changes that resulted from the tragedy.
“Part of what the case revealed was that workplace safety regulations at the time had no teeth, so the silver lining was that a host of new laws were introduced,” explained McLean. “Frances Perkins, the first woman to serve in a U.S. cabinet, actually witnessed the Triangle Shirtwaist fire and described it as a pivotal moment in her life. She became secretary of labour under FDR [Franklin D. Roosevelt] and was a major player in ushering in the New Deal.”
In terms of lessons learned, however, “we seem doomed to continually forget the inequality that animates our world,” he said. “Going to work under dangerous conditions seems like a reasonable choice to many people in impoverished conditions. As long as those conditions exist, workplace tragedies are likely to occur.”
He added, “There’s a fascinating historian of the Triangle Shirtwaist fire, Michael Hirsch, who argues that it’s a mistake focusing anger and blame on the factory owners. He uncovered the names of several bodies that were unidentified in 1911, and he makes a yearly pilgrimage to the victims’ graves…. To me, Harris and Blanck do appear negligent, but acknowledging systemic imbalances is also important. Economic inequality has proven a difficult problem to solve, but that doesn’t give us the right to forget about it. My sense is that we need a new New Deal today.”
A love of Yiddish music
Josh Dolgin has many artistic interests and musical styles – from composing to photography to puppeteering, from hip-hop to musicals to Yiddish music. As different as they may be, Dolgin said, “all the passions stem from an attraction to ‘realness,’ to things that just deeply move me, spark inspiration, speak to my soul.”
For him, the 2018 album Di Frosh “was a kind of return to a pure, more ‘traditional’ Yiddish music, even though it’s a project of ‘new’ music. I had experimented with using Jewish music sounds in contemporary ways,” he explained, “sampling, mixing, collaborating and fusing to create hip-hop, rap and funky pop music. In so doing, I became rather immersed in the form – in klezmer, in Yiddish folk, art, theatre music, cantorial sounds from the synagogue and Chassidic music – by collecting old records looking for sources. Listening to all that music, I eventually fell in love with the source material … I wanted to play and sing it! I eventually started learning the songs as a pianist, as an accordionist and singer. I wanted to just perform that music, without mixing it, without adding beats, just to play and sing it as is.
“In the meantime, I started getting into four-part harmony singing and collecting choral arrangements, then directing choirs at synagogues and music camps. That love of harmony mixed with my love of singing Yiddish songs and I thought, hmm, it would be cool to present this repertoire in an almost classic style, maintaining all that beautiful real harmony from arrangements from the ‘time.’ Some friends and I created new arrangements based on old sources – all the arrangements are ‘new,’ this repertoire for string quartet never existed before, so it’s ‘new’ music, but it’s more traditional than my fusion/pop experiments.”
Dolgin went to Hebrew school and was raised Jewishly. But, while he “adored” the “holidays and rituals and foods and songs,” he said, “I never was very inspired by the religious aspect of my cultural history, or the establishment ritual practice. When I started to find old records of Yiddish music looking for samples to make hip-hop music, I had stumbled on a part of my cultural identity that I could take pride in, that spoke to me, something I had never been exposed to with the more ‘mainstream,’ ‘modern,’ ‘reform’ version of Judaism I had experienced as a child.”
Musically, he started piano lessons at a young age and “was bribed and forced to keep at it, until I finally was allowed to study ‘jazz,’ i.e., not classical music. Then I got into the ‘rap music’ of my peers, and wanted to participate in that, to make a current music from today. I started looking into studio production techniques, sampling, using drum machines and computers to sequence and combine sounds and compose. Finding the Yiddish sounds and repertoire gave me a voice in hip-hop culture.”
Dolgin has always been one to seek out things that were “off the beaten path” and “a bit more hidden.”
“That led me as a teenager, in the days before the internet, to develop a real love of Brazilian music and funk, by digging and exploring,” he said. “The digging required to find sounds to sample in hip-hop led me unearth … a whole universe of Yiddish music and culture. I never heard Yiddish growing up! I had no idea! It was so fun to discover these treasures of my own cultural history, these sounds, modes, rhythms, poems and songs that were developed by my Eastern European ancestors. I dug around and really got into trying to find as much as I could, and that was more fun for me than having a whole repertoire handed to me on a silver platter.”
Dolgin chose his favourite songs for Di Frosh, ones “that weren’t the same top five Yiddish ‘chestnuts’ that everyone has already sung. Even though it’s not at all a well-known repertoire, there are a few songs that keep coming up, and they’ve been sung and presented enough, thank you very much. I wanted cool, rare repertoire. These could be things I heard from old records, or things I found as piano and choral arrangements on paper that could be brought to life in new arrangements.
“I thought it would be nice to have a range of repertoire from the various sub-genres of Yiddish music, from theatre music, from folk song, from Chassidic song, from postwar things, Holocaust songs, and even some ‘originals’ from contemporary Yiddish writers. Those ‘high concept’ factors were at the back of my mind when putting the program together, but it was mostly just a very subjective process of picking my favourite songs, the songs that blow my mind lyrically, harmonically or melodically.”
He went through another selection process when he was asked by a bass player from Vienna to do some Yiddish songs with a big band. Dolgin said he picked “out a whole new repertoire of more Yiddish songs I was interested in presenting, sent charts and recordings to them and they created arrangements for an actual 19-piece big band! I showed up in Salzburg and, after one rehearsal, performed with them to a sold-out jazz festival audience – it was magical! We have since done the show several times, including this summer with the Toronto Jazz Orchestra for the Ashkenaz Festival.”
They were about to travel with the show in Germany and Austria when COVID struck; the plan is now for a spring tour. During the lockdowns, said Dolgin, “I did manage to write quite a few more arrangements of Yiddish songs for string quartet, so hopefully a Frosh 2 is possible.”
The best part of this project, he said, has been “meeting new string quartets around the world and bringing this new repertoire to them, and then bringing the music to new audiences who may not be too familiar with these songs, with these sounds.
“After recording the music to make the Di Frosh record, with the amazing Kaiser Quartett based in Hamburg,” said Dolgin, “I’ve since presented this music all around the world with ‘local’ quartets: in Vienna, in London, in Venice, New York, Toronto, Montreal, Boston, Paris…. I’m very excited to be in Vancouver and meet Elyse Jacobson and the musicians she will put together for this program.
The Chutzpah! Festival opened Nov. 4 and runs until Nov. 24. For tickets and the full lineup, visit chutzpahfestival.com or call 604-257-5145.
Wendy Bross Stuart leads singers Lisa Milton, Kat Palmer and David Urist in the JSA program With a Song in My Heart, which takes place March 29 at the Peretz Centre. (photo from Wendy Bross Stuart)
This year’s Jewish Seniors Alliance of Greater Vancouver Spring Forum features a concert with music director and pianist Wendy Bross Stuart and singers Lisa Milton, Kat Palmer and David Urist. The program, called With a Song in My Heart, takes place March 29 at the Peretz Centre for Secular Jewish Culture.
“We are planning a program of Jewish-related songs all pertaining to our love of music,” Bross Stuart told the Independent. “‘With a Song in My Heart’ is a famous song by Rodgers and Hart (Jewish writers) from the 1929 musical Spring is Here. Very true that, by March 29, spring will indeed be here!
“We will include that song in our program as an ensemble piece,” she said. “We will have duets – in Yiddish – ‘Her Nor Du, Sheyn Meydele’ and ‘Vu Ahin Zol Ikh Geyn’; and many solos from Jewish-themed musicals, for example Rags, Milk and Honey, The Rothschilds and a song that was deleted from Fiddler on the Roof!”
Bross Stuart has contributed to more than a dozen seasons of Theatre Under the Stars, as conductor, music director and pianist, and has been music director and pianist for many other theatre companies, including the Arts Club, the Electric Company, Famous Artists, Touchstone Theatre, Presentation House and Snapshots Collective. She has composed numerous choral arrangements and recorded four CDs of Jewish music with soprano Claire Klein Osipov.
Of the ensemble that will join her on March 29, Bross Stuart said, “These three singers are very accomplished. They must have an opportunity to sing what inspires them, but which also fits into the theme of the program.”
She noted that Milton is Klein Osipov’s younger daughter. “She spent many years observing her mother’s performances and rehearsals. She knows all the arrangements I created for Claire – perfectly. When I accompany Lisa, it’s magic,” said Bross Stuart. “I see and hear Claire! What a delight!”
In addition to being an award-winning musician, Bross Stuart is an ethnomusicologist. She has written two books – Gambling Music of the Coast Salish Indians and, with John Enrico, Northern Haida Songs. She and her husband, Ron Stuart, collaborate in the making of documentary films shot in South Africa.
“Ron and I just returned from two-and-a-half months in Cape Town, where we started working on our eighth documentary there,” said Bross Stuart. “This one is called Gugulethu Warriors – Making Things Right! It’s a documentary based on the grassroots efforts of township residents to cope with the social issues of crime, safety, unemployment and community cohesion.”
The Stuarts established Cultural Odyssey Films, notes the website culturalodysseyfilms.com, “to provide a platform for the production and distribution of documentary films about contemporary cultural groups and individuals committed to social change.”
The Stuarts also formed WRS Productions, which has numerous producing credits, including the Vancouver Holocaust Education Centre’s annual community commemoration of Yom Hashoah, Holocaust Remembrance Day. Bross Stuart said that, while preparing for the JSA Spring Forum, she, Milton, Palmer and Urist are also working on the Yom Hashoah commemoration.
“After that,” she said, “I jump into rehearsals for Theatre Under the Stars’ upcoming production of Disney’s Beauty and the Beast and Perry Ehrlich’s Gotta Sing! Gotta Dance! – year 26!
Bross Stuart is a co-founder of the Gotta Sing! Gotta Dance! musical theatre program, which is held at the Jewish Community Centre of Greater Vancouver every summer. The deadline for youth to apply to this year’s sessions is April 1.
Not one to rest on her laurels, Bross Stuart recently adapted an indie pop song. “I just completed a new choral arrangement,” she said. “Of one of my daughter Jessica’s new songs. A first for me!” (The original “Simple Little Song” can be heard at jessicastuartmusic.com.)
As to why she is making the time to perform at the JSA forum, Bross Stuart said, “The JSA is run by a group of very talented, diligent, kind and caring individuals. They provide a wonderful service to the community, where we share with one another. It is my pleasure to contribute to this.”
With a Song in My Heart starts at 2 p.m. on March 29. Refreshments will be served and underground parking is available at the Peretz Centre – cars must enter the alley from 49th Avenue, as 45th is closed to traffic. The nominal cost of the event is $5. For more information and to register, call 604-732-1555 or email [email protected].
Taylor Pardell as Gretel and Pascale Spinney as Hansel in Vancouver Opera’s adaptation of the classic fairy tale. (photo by Emily Cooper)
While Vancouver Opera is presenting the fairy tale Hansel and Gretel Nov. 24-Dec. 11, cast member Leah Giselle Field is living one of her dreams.
Field first moved to Vancouver from Calgary – where her parents had moved from Montreal the year before she was born – for an undergraduate degree in opera at the University of British Columbia. “I left for a two-year master’s program in Ontario and then came back for my doctorate,” she told the Independent. “I came back to Vancouver several times during those years away, so I feel like I’ve been a Vancouver resident for the last 14 years.”
In fact, her connection to Vancouver goes back even further.
“Vancouver has always felt a little bit like home,” she said. “After the war, surviving members of my maternal grandfather’s family moved to Canada. My grandparents settled in Montreal, and my grandfather’s sisters settled in Toronto and Vancouver…. Growing up in Calgary, my family would take road trips to Vancouver over spring break and in the summers, and the time we spent with my great-aunt and my mother’s cousins’ families was formative. Friends of theirs have been part of family events and celebrations for decades, and it’s always fun to catch up during holidays. I’ve been part of the Congregation Beth Israel High Holiday Choir for the past few years and enjoy catching up with my BI family each fall.”
Her professional experience includes appearing “in the title roles of Carmen and Julius Caesar, and as Marcellina in The Marriage of Figaro, Suzuki in Madama Butterfly, the Principessa in Suor Angelica, and Jennie in Maurice Sendak and Oliver Knussen’s Higglety Pigglety Pop!” notes her bio. “She is a past winner in the Western Canada District of the Metropolitan Opera National Council Auditions and a 2015 semi-finalist in the Marcello Giordani Foundation International Vocal Competition.”
In Hansel and Gretel, Field, who is a mezzo-soprano, plays Gertrude, the mother. All of the principal singers in the show, including Field, are 2016-2017 participants in Vancouver Opera’s Yulanda M. Faris Young Artists Program.
“My experience with Vancouver Opera so far has really been a dream come true,” Field said. “I still have moments of disbelief that I get to do this every day, that I have the opportunity to work and learn with such wonderful colleagues within an organization that treats its singers with so much respect. The eight of us in the Yulanda M. Faris Young Artists Program [YAP] have become really dear friends – we had ‘YAPsgiving’ together last month (because Thanksgiving fell between Rosh Hashanah and Yom Kippur, I brought matzah ball soup, round challah with raisins, apples and honey, and honey cake) – and our bass-baritone always says, ‘Goodnight, family,’ on his way out the door.
“Being part of this production of Hansel and Gretel has been amazing…. We have exciting, fresh perspectives from the director, conductor and designers to work with, the stage management team has been incredible, and the performers are so caring and supportive. It has been exciting every day – seeing the show come together is such a thrilling experience.”
Vancouver Opera is billing their Hansel and Gretel as a “family-friendly production” for ages 6-plus.
“There are all sorts of factors that make this production more family-friendly than our standard conception of ‘opera,’” explained Field. “First, the subject matter is familiar: anyone who has heard the Grimm story – about the brother and sister lost in the forest who find a house made of sweets and outsmart the witch who lives there – already knows the foundation of our story.
“We’re also performing an updated translation of the original libretto, so audiences will be hearing our story in English. [And] Hansel and Gretel is … an opera that involves child performers – we have a chorus of 14 children,” she said.
“Beyond the traditionally family-friendly elements of the opera, we have the most incredible design concept enhancing our production. This is a larger-than-life, technicolor world that brings to mind the dream world Maurice Sendak’s protagonist Max imagines in Where the Wild Things Are. This show is a co-production with the Old Trout Puppet Workshop, so costume pieces, the set, hand-held puppets and multi-operator puppet costumes help create this realm of ‘everyday spectacular.’ It’s such a visually rich presentation that audiences of any age will be engaged by the complete realm of story they see and hear.”
In addition, the new production has been shortened – it will run approximately two hours and 20 minutes, with one intermission – and the “youthful cast of emerging opera stars” will be conducted by 24-year-old Scottish-born conductor Alexander Prior. The original score by German composer Engelbert Humperdinck (1854-1921) has been adapted to suit the relatively small size of the venue – Vancouver Playhouse – and will be performed by “a 14-member ensemble of the Vancouver Opera Orchestra, which includes strings, woodwinds, brass, percussion, a saxophone and an electric guitar.”
While Field’s focus is classical music, she said she also has some musical theatre, folk, jazz and pop music in her repertoire.
“Some of the music I’ve performed most includes Yiddish songs I learned in elementary school,” she said. “Whenever I can fit it into a program, I try to include ‘Oyfn Pripetchik.’ That’s always been a special song to me. When we learned new songs in Yiddish class, I would sing them over the phone to my grandfather in Montreal. He’d always say, ‘That’s very nice, Ketzeleh,’ but when I sang ‘Oyfn Pripetchik’ to him, he sang along. We had a party for his 90th birthday in 2010, and he got up to sing ‘Oyfn Pripetchik’ again with me then. I’m sorry to say he’s declined significantly in the past few years, but we still manage a sing-along every now and then.”
“Oyfn Pripetchik” is a song about a rabbi teaching his students the alef-bet, and it was written by Mark Warshawsky (1848-1907). In addition to folk songs, Field said that, since elementary school, she has “been interested in music and art suppressed under Nazism.”
“My maternal grandparents are Holocaust survivors and interwar European culture provides a fascinating snapshot of life and art amidst tragedy,” she explained. “Mary Castello, our pianist in the Yulanda M. Faris Young Artists Program, and I are beginning to plan a recital of suppressed music for the new year and hope to present it across the country.
“Jewish-Canadian composer Srul Irving Glick was commissioned by the CBC to write a song cycle for the great Canadian singer, Maureen Forrester,” she continued. “He used the translated text of children’s poems salvaged from Terezin for his cycle ‘I Never Saw Another Butterfly,’ and I had the honor of performing ‘Narrative’ from this cycle with pianist Richard Epp for UBC’s honorary degree conferral ceremony for Elie Wiesel.”
In addition to the recital planned for next year, Field said, “I’m looking forward to Vancouver Opera’s festival in the spring, and getting to play the bad guy in a production of Puccini’s Suor Angelica in Ottawa in February.”