News

Upcoming Concerts

Following successful back-to-back performances of our concert Fallen, Camerata Nova has a quick turnaround with a free Santa Clause Parade Day Concert at the Manitoba Hydro Building (Nov 17), as well as A Concert in Benefit of Sistema Winnipeg (Nov 18). Read more below.

Santa Claus Parade Day Concert

Saturday, November 17, 2018 at 2:30 pm in the Atrium of the Manitoba Hydro Building – A light holiday concert led by conductor Vic Pankratz to get you in the spirit before watching the Winnipeg Santa Claus Parade. Enjoy cookies and hot chocolate at this free concert in the Atrium of the Manitoba Hydro Building. Our free performance features Christmas classics, Camerata Nova originals, as well as some sing-alongs.
The event is supported by Manitoba Hydro

A Concert in Benefit of Sistema Winnipeg

Sunday, November 18, 2018 at 2:00 pm, at St. John’s College, University of Winnipeg – This concert in benefit of Sistema Winnipeg will feature the Sistema students in their first public performance of the 2018 – 2019 season. Sistema Winnipeg is an intensive after-school program that uses orchestral music to serve children with the fewest resources and the greatest need. The concert will also feature the innovative choral music of Camerata Nova. The event is hosted by Winnipeg Symphony Orchestra Resident Conductor, Julian Pellicano and held at the St. John’s College Chapel, University of Manitoba, 92 Dysart Road on Sunday November 18 at 2:00 pm. Tickets are $40 for adult and $15 for students and children. Help us to help this innovative inner-city music program.

Reception and Silent Auction to follow the concert.

For more info and to purchase tickets, please visit Sistema Winnipeg.

Fallen: From a Singer’s Point of View – Dr. Liz Przybylski

Before the band started to play, the director came to the mic to prepare the audience for what we were about to hear. The players on stage were about to begin their version of an armed forces salute. The director invited those of us seated in the concert hall to stand if we or a family member served in the branch of the armed services when we heard the corresponding anthem. Dozens of college students picked up their instruments, and the band began to play. With my fellow audience members, I turned to see men and women stand around me in the hall, the audience applauding service members past and present and their families. This salute, the director explained, was a way for the band at my city’s local college to pay tribute to veterans. It’s something I’ve heard before here where I live in the U.S., but the timing resonated with me as I’d never experienced before: we had convened to raise money and support for local people experiencing homelessness.

Why a military salute at a concert for those in our community who are not stably housed? Veterans are represented in significant numbers among people who lack stable housing. In that concert hall, I felt the discomfort of the juxtaposition of the audience’s desire to honor veterans even as we have a way to go in terms of providing material and social supports to individuals who served in the armed forces.

At the First World War centenary, concerts and events are being staged to honor veterans throughout Canada, the U.S., and around the world. Yet, how many of these programs encourage us also to act and reflect in response to how veterans were and are treated upon their return home?

I felt that question strongly when I was in the audience at a concert hall. Group music making generates a reflective space in which these questions can resonate. It’s fitting then to listen for another concert space that offers an opportunity to work through answers.

This November, Camerata Nova will be performing Andrew Balfour’s new work “Notinikew.” In collaboration with conductor Mel Braun, pop ‘cellist Cris Derksen, Drummer/singer Cory Campbell, the Winnipeg Boys’ Choir, and an ensemble of vocalists, Balfour will share a musical story that sits between reverence and responsibility. While acknowledging the service of Indigenous veterans such as Sergeant Tommy Prince, “Notinikew” will let us ask ourselves, what might it mean for Indigenous young people to have signed up to fight for their country, and then returned home second-class citizens? This piece, while historical in nature, has us face contemporary questions: Where are we in our journey towards remembering Indigenous individuals among the canon of Canadian historical greats? What has – and has not—changed in the past hundred years in the relationships between First Nations and the Canadian state, and what work needs to be done?

I was honored to sing with Camerata Nova when Balfour first presented “Take the Indian” at the New Music Festival in 2015 and later at the Canadian Museum for Human Rights. This composition in many ways sparked the three-part series of concerts that serves as the ensemble’s response to the Calls to Action of the Truth and Reconciliation Commission. I’ll be in the audience at the concert Fallen this November 3rd and 4th, ready to listen to Camerata Nova’s reflection on service, responsibility, and community. As in the concert I heard this past weekend, I’ll also be ready to ask myself, what can I do to move us together towards fulfilling our collective responsibility towards each other? I hope you’ll join me.

An Assistant Professor of Ethnomusicology at the University of California, Riverside, hip hop scholar Dr. Liz Przybylski specializes in Indigenous popular music practices in Canada and the United States. A graduate of Bard College (BA) and Northwestern University (MA, PhD), Liz has presented her research nationally and internationally. Her recent publications have appeared in Ethnomusicology, Journal of Borderlands Studies, IASPM@Journal, and others. She teaches courses on Indigenous music, popular music, ethnographic methods, and gender studies. In addition to her university teaching, Liz has taught at the American Indian Center in Chicago, hosted the world music show “Continental Drift” on WNUR in Chicago, and has conducted interviews with musicians for programs including “At The Edge of Canada: Indigenous Research” on CJUM in Winnipeg. Liz serves as the Media Reviews Editor for the journal American Music.

Dr. Liz Przybylski

An Assistant Professor of Ethnomusicology at the University of California, Riverside, hip hop scholar Dr. Liz Przybylski specializes in Indigenous popular music practices in Canada and the United States. A graduate of Bard College (BA) and Northwestern University (MA, PhD), Liz has presented her research nationally and internationally. Her recent publications have appeared in Ethnomusicology, Journal of Borderlands Studies, IASPM@Journal, and others. She teaches courses on Indigenous music, popular music, ethnographic methods, and gender studies. In addition to her university teaching, Liz has taught at the American Indian Center in Chicago, hosted the world music show “Continental Drift” on WNUR in Chicago, and has conducted interviews with musicians for programs including “At The Edge of Canada: Indigenous Research” on CJUM in Winnipeg. Liz serves as the Media Reviews Editor for the journal American Music.

Meet Some of the Amazing Singers Who Will be Joining us for our Fallen Concert

from top left: Ben Sellick, Jane Fingler, John Anderson, Kathleen Murphy

Camerata Nova, and the Manitoba choir community as a whole, are so lucky to have access to some of the best talent in the country. Ben Sellick, Jane Fingler, John Anderson, and Kathleen Murphy are just four of the 14 amazing singers who’ll be joining us this weekend (Nov 3-4) for our concert Fallen, taking place at the Crescent Fort Rouge United Church.

Fallen performers include Artistic Director / Directeur artistique, Andrew Balfour; Sopranos: Jane Fingler, Sarah Sommer, Brittany Mielnichuk, Sydney Clarke; Altos: Donnalynn Grills, Angela Neufeld, Kathleen Murphy; Tenors: Scott Reimer, Andrew Thomson, Dave Sawatzky; Basses: Alan Schroeder, Ben Sellick, John Anderson, George Bajer-Koulack; Featured Artists: Cris Derkesen, Cory Campbell; as well as the Winnipeg Boys’ Choir.

Ben Sellick grew up playing music, traveling, and watching movies. He went to the University of Manitoba, where he studied piano and film. First with Elroy Friesen, and then under Michael Zaugg, Ben began singing and writing choral music, receiving his first major compositional premiere by Pro Coro Canada in their 2017-2018 season. Ben likes the colour orange, olive oil, wool socks, lakes, film music, El Greco, and podcasts.

Jane Fingler is a Winnipeg based Soprano who has has the pleasure of singing in Camerata Nova for the past seven seasons. She also sings in other Winnipeg based choral groups Polycoro and Canzona, performing music old and new, appearing as a soloist as well as an ensemble member. Jane teaches voice lessons, tries to write music sometimes and loves to sing and perform pop/folk music that have great harmonies! She loves being a part of the Camerata Family! <3

Born and raised in Winnipeg, John Anderson has been a lifelong lover of singing. With a passion for choir, theatre and composition, John has recently graduated from the University of Manitoba Desautels Faculty of Music and is excited to now begin making music and telling stories more widely in the Winnipeg community.

Kathleen Murphy is a mezzo-soprano & pianist from Winnipeg, Manitoba.  She is currently completing her degree in undergraduate piano at the University of Manitoba with David Moroz, and pursues vocal studies with Mel Braun.  She has performed in concerts, masterclasses, & festivals as a vocalist, pianist, and choir member. Kathleen also has a passion for music theory & history, and is planning to pursue a post baccalaureate degree in vocal performance.

TICKETS

*Tickets are available from our website, at McNally Robinson Booksellers, by phone (204-918-4947), or at the door. Two- or three-concert subscriptions ($35 to $125) for Camerata Nova’s 2018-2019 season are also available. See cameratanova.com for details.

DONATE

Camerata Nova is a registered not-for-profit charitable organization. Exploring, taking risks, and developing exciting new programming, takes time, energy, and money.

Click here to find out more about donating.

Fallen: A Truth and Reconciliation Concert

Camerata Nova’s landmark concert series highlighting truth and reconciliation with the Indigenous peoples of Canada is returning this November with Fallen, the second of three concerts designed by artistic director and composer Andrew Balfour. As with many trilogies, you don’t need to have seen the first to appreciate the second.

Andrew Balfour leading a rehearsal with the Winnipeg Boys’ Choir

Fallen will be presented on Nov. 3 and 4. The first of the series, Taken, premiered on March 4 and 5, 2017 in Winnipeg before moving out east to be performed in the National Arts Centre’s Canada 150 Festival in June.

Taken – which featured Polaris Prize-winning artist Jeremy Dutcher, hip hop artist Eekwol from Muskoday First Nation in Saskatchewan, CBC reporter and throat singer Madeleine Allakariallak and cellist Leanne Zacharias with Camerata Nova’s chamber choir – received praise for being “innovative, inclusive and thoroughly engaging” (ARTSFILE). It dealt with the subject of Indigenous children being taken from their homes and the stripping of their culture by residential schools.

Fallen continues the conversation of truth and reconciliation with the Indigenous peoples of Canada by exploring the contributions of Indigenous soldiers in the First World War, featuring a choral drama entitled Notinikew (He who takes part in war), written by Balfour. This time around, Camerata Nova will be joined by Indigenous cellist Cris Derksen, traditional drummer and singer Cory Campbell and the Winnipeg Boys’ Choir. The concert, conducted by Mel Braun, will also feature Requiem, a piece by English composer Herbert Howells on the death of his young son.

Balfour’s inspiration for Notinikew was sparked by his love of history, particularly the European wars. “While Indigenous individuals of Canada have fought in every major conflict from the War of 1812 to Afghanistan, they were rewarded for their contributions to WWI by being denied benefits and forbidden to leave their reserves,” said Balfour.

The motivations as to why Indigenous people would fight for a country that eradicated their culture fascinated Balfour. “All war is insanity”, said Balfour. “I wanted to do an anti-war piece, but also question why Indigenous people would go and fight in that war, and what would drive them to sign up and travel overseas and fight in the bloodiest conflict ever at that time.”

“Maybe they went to fight to better their cause at home; maybe they thought if they fought for Canada that our country would reward them with giving them their ceremony or language back. Maybe they had a sense of honour. Maybe they wanted adventure.”

Balfour founded Camerata Nova in 1996 to explore early music – sparked by his love for Renaissance and medieval works – but it wasn’t until years later that he began composing his own music and exploring the power of Indigenous music.

Balfour was a victim of the Sixties Scoop, taken from his Cree family at a young age and placed in the home of an Anglican priest. While he says his home was loving and supportive, it disconnected him from his people, his culture and his music. Through writing pieces for Camerata Nova and researching Indigenous cultures, Balfour rediscovered a part of his identity and learned to embrace his people’s music.

“I didn’t know anything about my language or my heritage, so it’s a process,” said Balfour. “It’s a very important way of reclaiming a lost identity.”

For Sandi Mielitz, president of Camerata Nova’s board of directors, watching Balfour grow as an artist and embrace his identity has been a rewarding experience.

“I’ve seen a guy with a huge amount of musical talent who then took it and learned how to not only evolve his music into something more and more sophisticated and abstract, but also evolve his whole identity,” said Mielitz.

While the struggles and triumphs of the Indigenous peoples of Canada can be researched through spoken and written works, Balfour and Mielitz agree that music provides another layer of connection for audiences to understand their experiences.

“When a story is told in music, it touches you in a way that dry facts just simply don’t,” said Mielitz. “All of the arts have a way of touching you and emotionally engaging you in experiencing stories.”

“The legacy of storytelling is so important, and I feel that the power of music or word or dance or visual arts are really important for people to either heal or explore their own wounds and legacies through art,” Balfour agreed. “The idea of doing these call-to-action concerts has been very important for myself as an artist and our community.”

Camerata Nova’s rehearsals are well underway, and for Balfour, the journey from looking at notes on a computer screen to hearing them sung live by the full chamber choir is an exciting one.

“It takes a lot of work, but we have an amazing organization and we have people, mostly non-Indigenous, that realize the importance of this, and that’s the country that I want to live in,” said Balfour. “Where people are healing or helping the healing or listening, because that’s really the most important thing. Particularly politicians – they need to listen.”

Fallen takes place at 7:30 pm on Nov. 3 and at 3 pm on Nov. 4 at Crescent Fort Rouge United Church (corner of Nassau and Wardlaw), with pre-concert talks 45 minutes before both shows*. The third and final concert of the series, Captive – a piece on Indigenous peoples’ incarceration – will be presented in 2020.
-Graeme Houssin

TICKETS

*Tickets are available from our website, at McNally Robinson Booksellers, by phone (204-918-4947), or at the door. Two- or three-concert subscriptions ($35 to $125) for Camerata Nova’s 2018-2019 season are also available. See cameratanova.com for details.

DONATE

Camerata Nova is a registered not-for-profit charitable organization. Exploring, taking risks, and developing exciting new programming, takes time, energy, and money.

Click here to find out more about donating.

‘Fallen’ is the Second Concert in a Trilogy Dedicated to Truth and Reconciliation

Artistic Director Andrew Balfour and the Camerata Nova team continue to innovate and celebrate choral music with ‘Fallen’ (Nov 3-4, 2018), the second concert in a trilogy dedicated to truth and reconciliation.

Composer, and Camerata Nova’s Artistic Director, Andrew Balfour, puts the finishing touches on Fallen (Nov 3-4) at the Herdsman’s House in Neubergthal, Manitoba.

Fallen – November 3, 2018 at 7:30 pm and November 4, 2018 at 3:00 pm at Crescent Fort Rouge United Church (Pre-concert talks at 6:45 pm on Saturday and 2:45 pm on Sunday)

Experience the poignant drama of a Manitoba Indigenous hunter/trapper who signs up to fight in World War I. Join conductor Mel Braun and composer/singer/Artistic Director Andrew Balfour with Indigenous cellist Cris Derksen, traditional drummer/singer Cory Campbell and the Winnipeg Boys’ Choir, among other guest artists. Beauty and drama that is 100 years young. This concert also features Herbert Howells’ Requiem, a masterwork on the death of his son.

Fallen is the second concert in a series dedicated to truth and reconciliation. In 2020, look for our third concert, Captive, expressing the power and sadness of Indigenous incarceration.

About Andrew Balfour
Of Cree descent, Andrew Balfour has written a body of more than 30 choral, instrumental and orchestral works, including the chamber opera Mishabooz’ Realm, Take the Indian, Empire Étrange: The Death of Louis Riel, Migiis: A Whiteshell Soundscape, Bawajigaywin, Gregorio’s Nightmare, Wa Wa Tey Wak (Northern Lights), Fantasia on a Poem by Rumi, Missa Brevis and Medieval Inuit. He has been commissioned by the Winnipeg, Regina and Toronto Symphony Orchestras, L’Atelier Lyrique de l’Opéra de Montréal, Ensemble Caprice of Montreal, Highlands Opera Workshop, Winnipeg Singers, Kingston Chamber Choir and Camerata Nova, among many others.  His choral works have been published by Cypress Choral Music and CNova Publishing and have been performed and/or broadcast locally, nationally and internationally.

Andrew is also the founder and Artistic Director of the innovative, 14-member vocal group Camerata Nova, now in its 23nd year of offering a concert series in Winnipeg.  With Camerata Nova, Andrew specializes in creating “concept concerts”, many with indigenous subject matter (Wa Wa Tey Wak (Northern Lights), Medieval Inuit, Chant!).  These innovative offerings explore a theme through an eclectic array of music, including new works, arrangements and innovative inter-genre and interdisciplinary collaborations.

Andrew has become increasingly passionate about music education and outreach, particularly on northern reserves and inner city Winnipeg schools where he has worked on behalf of the National Arts Centre, Camerata Nova, the Winnipeg Symphony Orchestra and various Winnipeg school divisions for the past eight years.

Andrew was Curator and Composer-in-Residence of the WSO’s Indigenous Festivals in 2009 and 2010 and in 2007 received the Mayor of Winnipeg’s Making a Mark Award, sponsored by the Winnipeg Arts Council to recognize the most promising midcareer artist in the City.  In 2017, he was awarded a Gold Medal by the Senate of Canada for his contribution to Canada’s indigenous and music communities.

TICKETS

Tickets for individual concerts are available at McNally Robinson Booksellers, by phone (204-918-4547), through our website, or at the door. Subscriptions (three concerts) are $65 (adults), $55 (seniors) and $35 (under 30), with a subscriptions-for-two offering at $125, $105 and $65 respectively. This season, two-concert mini-packages are also available ($35, $30, $20, or for two, $65, $55, $35). Individual ticket prices available on our website.

DONATE

Camerata Nova is a registered not-for-profit charitable organization. Exploring, taking risks, and developing exciting new programming, takes time, energy, and money.

Click here to find out more about donating.

Celebrated Indigenous Cellist/composer, Cris Derksen, Joining us for “Fallen”

Cris Derksen is a celebrated Indigenous cellist/composer known for building layers of sound into captivating performances. Originally from Northern Alberta, Cris has a line of chiefs from North Tall Cree reserve on her father’s side and a line of strong Mennonite homesteaders on her mother’s side. Her music braids the traditional and contemporary in multiple dimensions, weaving her traditional classical training and her Aboriginal ancestry with new school electronics, creating genre-defying music. For Fallen, Cris will be joined by traditional drummer/singer Cory Campbell and the Winnipeg Boys’ Choir, among other guest artists. Read more…

Fallen is the second concert in a series dedicated to truth and reconciliation. In 2020, look for our third concert, Captive, expressing the power and sadness of Indigenous incarceration.

TICKETS

Tickets for individual concerts are available at McNally Robinson Booksellers, by phone (204-918-4547), through our website, or at the door. Subscriptions (three concerts) are $65 (adults), $55 (seniors) and $35 (under 30), with a subscriptions-for-two offering at $125, $105 and $65 respectively. This season, two-concert mini-packages are also available ($35, $30, $20, or for two, $65, $55, $35). Individual ticket prices available on our website.

Donate

Camerata Nova is a registered not-for-profit charitable organization. Exploring, taking risks, and developing exciting new programming, takes time, energy, and money.

Click here to find out more about donating.

Camerata Nova’s 2018-2019 Season

From an early music mystery to the second concert in a trilogy dedicated to truth and reconciliation, Camerata Nova is a vocal group without fear!

Following a spectacular 22nd season, 2018-19 provides a thrilling range of music that highlights Manitoba performers and composers. Highlights include Fallen, the second concert in a series dedicated to truth and reconciliation; a concert featuring an alleged death by chocolate poisoning; and a concert with great Prairie folk and pop standards as well as recent tunes by exciting local artists. Once again, Artistic Director Andrew Balfour and the Camerata Nova team continue to innovate and celebrate choral music from the Renaissance to the present day in all its forms.

Andrew Balfour, Mel Braun

Major Concerts

Fallen
November 3, 2018 at 7:30 pm and November 4, 2018 at 3:00 pm at Crescent Fort Rouge United Church (Pre-concert talks at 6:45 pm on Saturday and 2:45 pm on Sunday)

Experience Notinikew (“he who takes part in war”), a choral fantasy of a Manitoba Indigenous hunter/trapper who signs up to fight in World War I. Join conductor Mel Braun and composer/singer/Artistic Director Andrew Balfour with Indigenous cellist Cris Derksen, traditional drummer/singer Cory Campbell and the Winnipeg Boys’ Choir, among other guest artists. Beauty and drama that is 100 years young. This concert also features Herbert Howells’ Requiem, a masterwork on the death of his son.

Fallen is the second concert in a series dedicated to truth and reconciliation. In 2020, look for our third concert, Captive, expressing the power and sadness of Indigenous incarceration.

The Prairie Songbook 
March 9, 2019 at 7:00 pm and 10:00 pm and March 10, 2019 at 3:00 pm at the Park Theatre

Every few years, we kick back to just have fun with friends and fans. For this special Park Theatre event, Camerata Nova will present great folk and pop standards as well as recent tunes by cool, local artists. From the Wailin’ Jennys to The Guess Who, from Joni Mitchell to Royal Canoe, from KD Lang to JP Hoe, we’ll celebrate our “wheatfield soul” in all its diversity.

Led by Mel Braun and Vic Pankratz and featuring a 4-piece house band of talented musicians, Camerata Nova will turn the Park Theatre into your favourite coffee house. Come join us and blow away your winter blues!

Daniel Cabena

Death by Chocolate: The Life and Death of Henry Purcell
May 4, 2019 at 7:30 pm and May 5, 2019 at 3:00 pm at Crescent Fort Rouge United Church (Pre-concert talks at 6:45 pm on Saturday and 2:45 pm on Sunday)

In this concert curated and conducted by John Wiens, Camerata Nova seeks to showcase choral works by Henry Purcell (1659-1695) and to explore the life of this composer, arguably the greatest of the English Baroque period. Join us to find out how cocoa can kill…

Death by Chocolate offers top quality performers and powerful repertoire – a rare musical treat. Four Winnipeg vocal soloists: Dayna Lamothe, soprano, Jane Fingler, soprano, James Magnus-Johnson, tenor, and Jereme Wall, bass will be joined by early music instrumentalists Claudine St-Arnauld, violin, Jeremy Buzasch, violin, Greg Hay, viola, Yuri Hooker, cello, Andrew Goodlett, bass, and Michael McKay, organ continuo. To add a star attraction and flair to the concert, we are also bringing in the exciting young Canadian countertenor, Daniel Cabena, who specializes in early and contemporary performance.  The countertenor voice has a caché and curiosity that is sure to send many a heart afflutter.  Repertoire will include: Rondeau from Abdelazar; O Sing unto the Lord; My Heart Is Inditing; Hear My Prayer, O Lord; Te Deum and Jubilate in D; plus Three Funeral Sentences.

Other Highlights

Santa Claus Parade Day ConcertSaturday, November 17, 2018 at 2:30 pm in the Atrium of the Manitoba Hydro Building

A light holiday concert with Camerata Nova. The free performance features Christmas classics, Camerata Nova originals, as well as some sing-alongs.

A Concert in Benefit of Sistema Winnipeg  Sunday, November 18, 2018 at 2:00 pm, at St. John’s College, University of Winnipeg

Celebrate the holiday season with the kids of Sistema Winnipeg and Camerata Nova! All proceeds will go to support the Winnipeg Symphony Orchestra’s Sistema Winnipeg inner-city music education program, offered in partnership with Seven Oaks School Division and Winnipeg School Division. Help us to help this innovative inner-city music program.

For more info and to purchase tickets, please visit Sistema Winnipeg.

Tickets

Tickets for individual concerts are available at McNally Robinson Booksellers, by phone (204-918-4547), through our website, or at the door. Subscriptions (three concerts) are $65 (adults), $55 (seniors) and $35 (under 30), with a subscriptions-for-two offering at $125, $105 and $65 respectively. This season, two-concert mini-packages are also available ($35, $30, $20, or for two, $65, $55, $35). Individual ticket prices available on our website.

Donate

Camerata Nova is a registered not-for-profit charitable organization. Exploring, taking risks, and developing exciting new programming, takes time, energy, and money.

Click here to find out more about donating.

Program Notes for Red River Song

The following text will be published in the program for Red River Song, presented on April 28th and 29th:

Red River Song is a celebration of Manitoba’s Métis heritage – from culture to carts. From the first decade of the 19th century through to the 1870s, the Métis people developed a way of life perfectly suited to the prairies, one that incorporated influences from all sides of their Indigenous, French Canadian and Scottish heritage. A proud people, the Métis cut a colourful swath in prairie society with their distinctive jackets and sashes, with their songs and dances, with their blue and white flag featuring the infinity symbol.

Our concert begins with an Invocation to the Four Directions, combining the opening words of the Latin Requiem mass with Cree and English texts that describe the Four Directions, the Four Seasons. It is a reflective opening, respectfully combining the Indigenous/European influences that shaped Métis culture. Mel Braun wrote it for Winnipeg’s 2017 concert in the Mysterious Barricades project, where performances were held across the country for World Suicide Prevention Day. Much of the music of the Métis is bright and full of fun, but there is a much darker side to this history. Invocation gives us a calm space to contemplate this.

From solemnity, the concert moves to rhythm and history with the songs of Métis Bard Pierre Falcon, a.k.a. Pierriche or Pierre the Rhymer. Born in Somerset House (or Elbow Fort, near Swan River, Manitoba) in 1793 to a Cree mother and French Canadian fur trader from the North West Company, Falcon was also a fur trader and, later, a farmer near present-day St. François-Xavier. He was famous as the bard of the Métis, creating poems and tunes to tell of the great exploits of his people in their struggle to be an independent nation under Louis Riel. In 1816, at age 23, he wrote La Chanson de la Grenouillère or The Battle of Seven Oaks which, 200 years later, remains a standard of Métis music.

The Buffalo Hunt is the second Falcon song in this concert, describing an activity at the very heart of the Métis culture. From the buffalo hunt came pemmican, which the Métis fashioned from dried, pounded buffalo meat, berries and grease. Pemmican was big business for the Métis. A 19th-century version of today’s Power Bar, it was much in demand by the voyageurs as they paddled umpteen hours a day in search of furs.

This set of historical Métis songs also includes the beautiful La Métisse with words by Louis Riel to a tune by priest Georges Dugas, who worked in Manitoba from 1866 to 1888. The words express the pride of a young Métis woman at the time of the Métis Provisional Government in 1869-70 – “If ever I am loved, I will choose for my faithful lover one of the soldiers from the little army commanded by our proud adjutant.”

A word about the arranger, Manitoban Chester Duncan: pianist, composer, author, CBC critic/producer/broadcaster and Professor Emeritus of English at the University of Manitoba, Duncan wrote more than 150 art songs. In the 1990s, he was commissioned to arrange all the songs from the compilation Songs of Old Manitoba, published in 1960 by Margaret Arnett MacLeod. They were premièred at the Summer Festival of Music on the Red. Mel Braun is delighted to bring three of them back to life for Red River Song.

Fiddlin’ and Jiggin’ – Camerata Nova is very pleased to present 15-year-old champion Métis fiddler Alexandre Tétrault with piano accompanist Yvette Audette. A descendant of Louis Riel, Tétrault not only plays up a storm but also writes his own fiddle tunes, which have become popular on the fiddle circuit. He is playing one of his own compositions today, as well as a tune by Andy de Jarlis (b. Desjarlais, 1914-1975), the famous Métis fiddler from Woodridge, Manitoba. From a family of Métis fiddlers, Andy was a descendant of Pierre Falcon and is credited with more than 200 jigs, reels, polkas and waltzes, some of which have become standards in North America.

Alexandre will also play another well-known tune, Reel de Sainte-Anne, to accompany jiggers Julien Beaudette-Loiselle and Marcus Merasty. Julien, a Métis from St. Boniface, has been dancing with the Ensemble folklorique de la Rivière-Rouge for seven years. The Ensemble specializes in traditional and not-so-traditional French-Canadian jigs and dances. Hailing from Pelican Narrows, Saskatchewan, Marcus is of Cree descent. In addition to traditional Métis jigging, Marcus is pursuing a career in contemporary dance. He is currently in the Professional Program of The School of Contemporary Dancers. Marcus and Julien are also performing an “a cappella dance” which they created for this concert with choreographer Myriam Leclercq and which combines Métis and French Canadian steps.

About Run Freddy Run!, Eliot Britton writes that it is “the second instalment in a set of pieces that looks at Manitoba’s heirloom bison culture. The text is constructed from bison-themed varia copied down during my post Ph.D. gap year in Winnipeg.

One can’t get far in Manitoba without encountering a bison-branded object, organization, business or activity. For example, I attended Nature Manitoba’s The Natural and Unnatural History of Bison in Manitoba lecture by Dr. Randy Mooi, Curator of Zoology at The Manitoba Museum – business as usual for a Tuesday evening in Manitoba. A group of nature enthusiasts and I crowded into Room 31 at Kelvin High School (I think I even paid full price as a non-member!). The lecture ran late. As expected, bison are awesome. As it turns out, bison are a handful and every so often the herd produces a particularly rebellious soul. Nothing has changed.

I heard about Freddy on the news. A “brazen bison” from Lorette, Manitoba who “just won’t stay home on the range.” I laughed out loud and immediately remembered Dr. Mooi’s 2016 lecturette on the last buffalo hunt and the truant, rebel bison. The juxtaposition of an obscure New York Times article from 1911 and the hilariously obscure 2018 Freddy story was too much to pass up. I then started to think about distant but related processes and uncommon intersections of historical and contemporary materials. That’s how I got to making a piece that integrates Renaissance polyphony with pop chord progressions, contemporary speech synthesis and sound design. I use “integrate” fairly loosely in this context. Sometimes it’s like hitting a brick wall, which is part of the fun of such a remote juxtaposition.

So, there you have it. Run Freddy Run! is a uniquely Manitoban mash-up that combines old and new, something borrowed and something… brown. And hopefully by the time you are reading this, I have secured an authentic Run Freddy Run! hoodie.”

Ode to the Red River Cart – Red River carts were the soundscape of the prairies. Wood-on-wood construction, no axle grease, well, you get the picture. More accurately, you hear the picture, with its endless moans, squeaks and squeals… We won’t speculate on why Mel Braun is inspired by moans, squeaks and squeals but he really went to town on this Ode to the Red River Cart!

The piece is constructed incorporating six Métis songs/reels, each found in Métis Songs: Visiting Was the Métis Way, compiled by ethnomusicologist Dr. Lynn Whidden, after years of searching out, recording and transcribing the music of Métis singers and fiddlers across the prairies. Published by the Saskatchewan Music Educators Association, the book in its entirety can be found as part of the Virtual Museum of Métis History and Culture created by the Gabriel Dumont Institute of Native Studies and Applied Research (www.metismuseum.ca). Dr. Whidden has created a wonderful gift to current and future generations of people interested in Métis music. As part of this Red River Song concert project, the score of Ode to the Red River Cart and individual choral scores of these Métis tunes arranged by Mel Braun will be made available for schools and community choirs via CNova Publishing on our website (www.cameratanova.com).

Before, after and even during these Métis tunes, Mel has written a colourful, detailed recitative about the Red River cart and its role and importance in Métis culture. The story is not just about the romance. It ends with the coming of the railway and the disappearance of not only the cart, but the Métis way of life. This “magnum opus” is fun, sad, wild and instructive! Be prepared to join in to the chorus at the end… Can you sound like a Red River cart??

Party d’cuisine! (Kitchen Party) – Just as would have happened in the kitchen of a Métis homestead, redolent with smoke, whiskey, warmth, fiddles, tapping spoons, toes and heels, Red River Song ends with a crazy “mash-up” of fiddles and dancers, plus singers doing “turlutte” or French Canadian scat. Bring out your spoons and get ready to join in!

The party starts quietly – as most parties do – with a cappella singing of À la claire fontaine. You will recognize the words, but perhaps not the tune – this beautiful melody was created by the Quebec group Barde, then arranged by the Saskatchewan group Folle Avoine. The party then picks up the pace with La Belle Catherine by Louis “Pitou” Boudreault (1905-1988), fiddler and storyteller from Chicoutimi, Québec. The next song, La disputeuse, is a famous Acadian reel also known under many other names, including Growling Old Man and Cackling Old Woman, The Disputant, and Growling and Grumbling! It will be followed by Fisher’s Hornpipe, another tune of many names and one of the most popular, widespread and frequently published fiddle tunes in the world.

Next up is Red River Jig or “oayache mannin,” as it is known in Michif. This is the unofficial Métis anthem, which was very popular in the mid 1800s when it was known from Alaska to James Bay. The dance is a combination of Plains First Nations footwork with Scottish, Irish and French-Canadian dance forms. The basic jig step is danced in most Métis communities, however, dancers often add their own “fancy” steps in parts of the tune. Even more specific, some dancers add certain variations which identify their home community. The origin of the Jig is unknown. One theory is that the Scots were on one side of the river (Red, Assiniboine or Seine – take your pick…) playing the bagpipes one night while some French Canadians and Métis were kicking back on their homestead porch on the other. A Métis fiddler decided to imitate the bagpipes. He started with a slow, sad, whining tune and then stepped it up with a fast, rollicking beat – everyone wanted to dance and the Red River Jig was born…

It is fitting to end the party with Whiskey Before Breakfast, another melodious composition by Andy de Jarlis, the famous Métis fiddler.

From Pierre Falcon to his descendent Andy de Jarlis, our concert comes full circle. Louis Riel said that the Métis people would sleep for a hundred years before their artists and visionaries led them back to nationhood. How right he was. The current resurgence of Métis culture and nationhood is a joy to behold. Long live the Métis Nation, long live the Red River cart!

Camerata Nova would like to thank Mel Braun for his wonderful curation, compositions, arrangements and conducting – but, most of all, for his passion for the story of the Métis and the history of Manitoba. We would also like to thank Myriam Leclercq, dance choreographer, and Karine Beaudette, Camerata Nova singer and long-time volunteer, for bringing together the fiddlers, dancers and choreographer to create the fiddling sequences.

Acknowledgements are also due to Dr. Lynn Whidden for providing authentic versions of Métis music and historian Fred J. Shore of the Native Studies Department at the University of Manitoba for his book, Threads in the Sash: The Story of the Métis from which we have liberally borrowed facts and stories.

Red River Song

You could hear them coming from miles away. Those Red River Carts, using no axle grease,were the soundscape of the prairies, the pride of the Metis traders. Made entirely of wood, lashed together with rawhide, able to carry vast loads and negotiate anything the Red River Valley topography could throw at them, the Red River Carts were the perfect eco-vehicle for the 19th C. prairie. They could transport trade goods, Buffalo meat, household furniture, tools, weapons, alcohol, and of course, the ever-present Metis fiddles. In hunt or battle, they could also provide shelter, a circle of protection for hunters and their families. In summer, their tall wheels cruised through Manitoba gumbo. In Spring, they could float across the river with their wheels lashed beneath. In winter, placed atop runners, they traversed the snow. Repairs were as easy as the next grove of trees. Wood-on- wood construction, no axle grease, well, you get the picture. More accurately, you hear the picture, with its endless, moans, squeaks, and squeals…

Red River Song brings some of the many songs and stories connected to the 19 th C. rise of the Metis nation. From the first decade of the 19 th C to through to the 1870’s, they developed a culture perfectly suited to the prairies, one that incorporated influences from all sides of Indigenous, French Canadian, and English Settlers culture. The Red River Cart provided the means for their entrepreneurial endeavours, carrying trade goods south to St. Paul, Minnesota or west to Fort Edmonton. It was also instrumental in the Buffalo Hunt, the very heart of the Metis culture. From the Buffalo Hunt came the pemmican, which the Metis fashioned from dried powdered buffalo meat, berries, and grease. A 19th C. version of today’s Power Bar, pemmican was much in demand by the voyageur as they paddled umpteen hours a day in search of furs. Pemmican was big business for the Metis. A proud people, the Metis cut a colourful swath in prairie society with their distinctive jackets, chapeaux and sashes, with their
songs and dances, with their Blue and white flag featuring the infinity symbol.

Our concert begins with an Invocation to the Four Directions, combining the opening words of the Requiem Service with Cree and English text that describes the Four Directions, the Four Seasons. From there we move to the songs of Metis Bard Pierre Falcon, who recorded the great exploits of the Metis in their struggle to be an Independant Nation under Louis Riel’s leadership. Fiddling and dancing features throughout the concert, with two fiddlers, acclaimed young Manitoba fiddler Alexandre Tetrault and WSO regular Claudine St. Arnauld joined by two dancers. They provide the heart of the Metis musical experience. A new commission by Manitoban Eliot Britton, for choir, fiddle, and electronics, traces the true adventures of Freddy, a rogue bison on the loose in the Lorette area of the province. And an Ode to the Red River Cart combines arrangements of Metis folk-songs with the story of the Red River Cart. Everything closes with a kitchen party that combines fiddle tunes and dancing with “turlutte” a Metis form of scatting undertaken by the choir. Be prepared to play your spoons during the kitchen party and to make the sounds of the Red River Cart during the performance of the Ode.

This celebration of Metis culture must also acknowledge the long dark period that came for the Metis in the 1870’s once Prime Minister John A. MacDonald and his railway took over their prairie and dis-abused them of their lands, their culture, and the need for the Red River Cart. Louis Riel himself said that the Metis people would sleep for a hundred years before their artists and visionaries led them back to nationhood. How right he was. The current resurgence of Metis culture and nationhood is a joy to behold and we celebrate with you. Long live the Metis Nation, long live the Red River Cart!

– Mel Braun

Run, Freddy, Run!

Run, Freddy, Run! is second installment in a set of pieces that looks at Manitoba’s heirloom bison culture. The text is constructed form bison themed varia copied down during my post PhD gap year in Winnipeg. One can’t get far in MB without encountering a bison branded object, organization, business or activity. For example, I attended Nature Manitoba’s The Natural And Unnatural History Of Bison In Mb lecture by Dr. Dr. Randy Mooi, Curator of Zoology at The Manitoba Museum. Business as usual for a Tuesday evening in Manitoba.

Freddy the Bison

Myself and a group of nature enthusiasts crowded into room 31 at Kelvin High School (I think I even paid full price as a non member!). The lecture ran late. As expected, bison are awesome. As it turns out, bison are a handful and every so often the herd produces a particularly rebellious soul. Nothing has changed.

I heard about Freddy on the news. A “brazen bison” from Lorette Manitoba who “just won’t stay home on the range”. I laughed out loud and immediately remembered Dr. Mooi’s 2016 lecturette on the last buffalo hunt and the truant, rebel bison. The juxtaposition of an obscure New York Times article from 1911 and the hilariously obscure 2018 Freddy story was too much to pass up. I then started to think about distant but related processes and uncommon intersections of historical and contemporary materials. That’s how I got to making a piece that integrates renaissance polyphony with pop chord progressions contemporary speech synthesis and sound design. I use “integrate” fairly loosely in this context. Sometimes it’s like hitting a brick wall, which is part of the fun of such a remote juxtaposition.

So there you have it. Run Freddy Run! Is a uniquely Manitoban mashup that combines old and new, something borrowed and something… brown.  And hopefully by the time you are reading this I have secured an authentic Run Freddy Run hoodi

Run Freddy Run! Text:

Brazen bison won’t stay home on the range
Run! Home! Range! Run!
He looks like a bison. I don’t want to be insensitive but they all look the same… you know?

The last big buffalo hunt in the history of the world
Sold to the Canadian government, five hundred head

Freddy’s out. He is just outside his yard on river road
I think people need to remember that Freddy is not a pet and is large and somewhat dangerous.

  • A daily bison report began popping up on a facebook groupSold to the Canadi
  • an Government five hundred head of buffalo The taxidermy shop
  • on main street that is the backdrop for the bison skullsle bison semble s’échapper à travers
  • une clôture électrique qui ne fonctionne pas correctement

Avant tout, les gens doivent se rappeler que Freddy n’est pas un animal domestique; c’est un animal imposant
C’est une rebelle depuis le début, that bull.

Manitoba
Run! Run! Run!

Brazen bison, won’t stay home on the range in Lorette
Manitoba Outlaw

The last big buffalo hunt
The official taxidermist of the Manitoba Government

Just outside my office there is a big, hairy outlaw that can stare anybody down

Run!

Camerata Nova is Hiring

Camerata Nova is hiring a new Executive Director to start in June 2018. For information or to apply, click here.

Première of Mishaabooz’ Realm

At the end of the summer, our Artistic Director Andrew Balfour led the creation of an original Indigenous-based dramatic opera entitled Mishaabooz’s Realm. The première will be performed on December 15 and 16 in Montréal and on December 21 and 22 in Haliburton. This exciting new opera was jointly commissioned and produced by the Highlands Opera Studio and the Atelier lyrique de l’Opéra de Montréal. Andrew spent the month of August as Composer-in-Residence where he worked with the performers and the creative team. It incorporates classical styles, unique choral and vocal perspectives, as well as Indigenous musical and oral traditions. The libretto is in a First Nations language, as well as French and English. It explores contemporary issues concerning Canada’s relationship with First Peoples and the land of Turtle Island. Click here for further information.

Balfour Receives Senate Award

Camerata Nova artistic director Andrew Balfour was awarded the a Senate 150th Anniversary Medal from Senator Pat Bovey during a ceremony in November in Ottawa. The medal is awarded to “Canadians whose generosity, dedication, volunteerism and hard work make their communities a better place to live.” Congratulations, Andrew!

Andrew Balfour receives award from Senator Pat Bovey.

Balfour to Compose Indigenous Opera

Camerata Nova is excited to announce that Artistic Director Andrew Balfour will be part of the creation of a completely new and original Indigenous based Dramatic Opera; Mishaabooz’s Realm, jointly commissioned and produced by the Highlands Opera Studio/Theatre and L’Atelier Lyrique de L’Opéra de Montréal.

This exciting new work promises to be multi-media and multi-directional, incorporating classical styles, unique choral and vocal perspectives, Indigenous musical and oral traditions. The libretto will be created in First Nations dialect, French and English, exploring contemporary issues concerning Canada’s relationship with our First People and the land of Turtle Island, past, present and future.

Regarding this new creative opportunity, Andrew commented, “In the spirit of the Truth and Reconciliation Commission’s call to action, I am honoured to take part in this wonderful collaborative approach in creating this important cultural and exciting new work.”

Andrew will be traveling to Highlands Opera Studio/Theatre in Haliburton, Ontario this August where he will be Composer-in-Residence. He will work with performers as well as their creative team on the new creation.

There will be a presentation of the First Public Workshop Performance of Mishaabooz’s Realm (La Domaine de Michabous) in Haliburton at the NLPAP on August 19th, at 8 pm.

Camerata Nova excites with Taken

Two small ensemble classical concerts at Canada Scene this weekend presented a striking contrast between the experimental and the traditional. One was innovative, inclusive and thoroughly engaging, despite some flaws in the execution. The other was technically impeccable, but stuffy and unoriginal.

On Saturday afternoon, the Winnipeg chamber choir Camerata Nova brought its Taken project to the University of Ottawa’s Tabaret Hall. The show, which premiered in Winnipeg earlier this year, explores the issue of First People’s dispossession through collaborations with Indigenous composers and performers from across Canada.

Jeremy Dutcher, a young musician from the Maliseet Nation in New Brunswick, performed an impassioned, solo Honour Song, accompanying himself on drum and piano, before joining Camerata Nova and cellist Leanne Zacharias for his Maceptasu (It is taken away).

The work — Dutcher’s compositional debut — was inspired by heartbreaking stories of young Indigenous children taken from their families and sent to suffer in the residential school system. Although it exhibits some typical novice weaknesses — it’s somewhat fragmented, and relies on repetition rather than development — this is a powerful, appealing first effort from Dutcher. What it lacks in structural complexity, it makes up for in raw honesty, emotional impact, and a sense of melodic flow that can’t be taught.

Lindsay Knight, aka Eekwol, is a hip-hop artist from Muskoday First Nation in Saskatchewan. While her flow is cool and mellow, her raps are tough, thought-provoking and fearlessly political: “I wish I had a gun, seek revenge for my little ones, or maybe turn it on myself, end the pain, but then I’d just lose again.” As Zacharias improvised cello lines, Camerata Nova supplied the backing track, including some pretty slick beatboxing and overtone singing. But not everyone in the choir seemed comfortable in the genre; I felt the sopranos especially weren’t in the pocket.

Andrew Balfour’s Qaumaniq (Bright Aura) is an accomplished, multi-movement cantata by a serious — and seriously creative — composer. Balfour, Camerata Nova’s artistic director, is of Cree descent but was adopted as a child by an Anglican priest. Not surprisingly, many of his works deal with identity lost and found, and with the consequences of exchanges between cultures.

In Qaumaniq, Balfour imagines the first encounter between explorer Martin Frobisher and the inhabitants of Baffin Island, and the kidnapping of a woman to take back to England. The work deftly incorporates Inuit musical idioms, English sailor songs, pounding, Coplandesque percussion, snippets of Tudor polyphony by Tallis and Byrd, and Balfour’s own sophisticated choral writing: dissonances that grind like sea ice, mixed in with creepy, sibilant whispering and sounds of nature.

The star of this piece is the wonderfully charismatic performer and journalist Madeleine Allakariallak; her throat singing duet with Michael Thompson on electric didgeridoo was captivating and wholly new. Fred Ford’s sensitive, uncontrived narration added poetic depth.

After Louis Riel, it was refreshing and inspiring to sit through a concert where living Indigenous artists told their own stories and experiences. In comparison, The Circle of Creation, Tafelmusik’s Bach multimedia show at Southam Hall Sunday night, was a throwback to music as museum set piece.

The concept seems promising: present the artisans, craftspeople and tradespeople who made Bach’s output in Leipzig possible: from the makers of string and wind instruments, to the experts who made his paper and ink, to the cloth merchants who supplied the taxe revenue that paid his salary.

Unfortunately, the whole thing felt like one of those old-fashioned “monuments of Western Civilization” continuing ed courses: the almost comically high-toned narration, obsessed with the dullest minutiae; the static, literal video and photography projections (the selection for Sheep may safely graze was, surprise, pastoral images of sheep grazing); and a frustrating greatest hits, WQXR approach to the music, all single movements and excerpts instead of complete works.

Toronto’s beloved Baroque orchestra plays so beautifully, with such grace and buoyancy, with so much collegial virtuosity, it either requires nothing, or else it demands supporting creative elements that are every bit as thrilling and fresh.

Still, the evening wasn’t entirely without excitement. About 10 minutes into the first half, a man started loudly heckling from the audience, complaining in French that the narration was only in English. After his third eruption, other Francophones in the audience started yelling at him to be quiet. It was easily the most dramatic outburst I’ve seen at a concert in years. How typical of Ottawa that it was over language politics, not artistic merit.

– Natasha Gauthier, artsfile.ca

Taken at Canada Scene in Ottawa

Winnipeg’s internationally acclaimed Camerata Nova choir continues to evolve in its own imaginative, risk-taking and quirky way, with early, contemporary and Indigenous-infused music remaining its pillars. The choir enjoys straying from the path too, though, and uses theatrical and visual design to engage its audience in profound and surprising ways.

For these and many other reasons, Camerata Nova has been chosen to participate in the huge Canada Scene festival organized by the National Arts Centre (NAC) as part of the Canada 150 celebrations. The NAC has asked Camerata Nova to do a repeat performance of its March 2017 show Taken on June 17 in Ottawa.

If you are in Ottawa or have friends and family interested in seeing the show, please see additional details on time, location and ticket purchases on the NAC website. To see a video excerpt from the Manitoba performance, visit our website.

2017-2018 Season

You won’t want to miss Camerata Nova’s exciting 2017-2018 season! Vic Pankratz, John Wiens and Mel Braun will all be returning to conduct new shows. All the details are now on our website, and both subscriptions and single tickets can be purchased on our online store. We look forward to seeing everyone there!

Voicing Your Support

Thank you for another successful season – we could not have done it without you!

As a supporter, you know that Camerata Nova has fearlessly advanced its unique art form and delivered a rich tapestry of sounds and surprisingly profound musical experiences for over two decades. If you haven’t already given in 2017, we ask that you consider making a tax-receiptable gift towards our end-of season campaign, or towards our upcoming 2017-2018 season.

You can support our work by contacting us directly at info@cameratanova.com or 204.918.4547. Or take up the Great Canadian Giving Challenge (until June 30) and securely donate to Camerata Nova via the CanadaHelps button on our website. From now until the end of June, each dollar will earn Camerata Nova one chance to win a grand prize draw of $10,000!

Thank you again for your support!

Upcoming Concert: Isolation

On Saturday, April 8 and Sunday April 9, Camerata Nova’s singers will weave the glowing and intricate lines of Renaissance composers like Cardoso, Gombert, Créquillon and White as well as by a new composition by Artistic Director Andrew Balfour. Read more in the latest blog.

Impressions of Taken

Local professor, writer and poet Sue Sorensen has written a response to our world premiere of Taken. Read it here: Impressions of Taken

Wine Raffle

For its 2016-2017 season, Camerata Nova is offering you the chance to win a selection of wines from The Winehouse (value of $500). Tickets are available for $5 each and can be purchased by contacting Camerata Nova at info@cameratanova.com or 204.918.4547. The draw will be held at our April 9 performance of Isolation at St. Alphonsus Roman Catholic Church.

Camerata Nova at Canada Scene!

We will be participating in Canada Scene, a massive gathering of artists from across the country, organized by the National Arts Centre for the 150th anniversary of Canada. We will be travelling to Ottawa around June 17, 2017 and performing our Taken concert, which Manitobans get to hear first on March 4 and 5, 2017. Camerata Nova had previously participated in the NAC’s Prairie Scene in 2011. Check for updates at nac-cna.ca/en/canadascene.

New Music Festival

We are very pleased to be invited back by the Winnipeg Symphony Orchestra to perform at the New Music Festival’s choral night on Monday, January 30, 2017 at Westminster United Church. We will once again be sharing the evening with Polycoro to present groundbreaking choral works, including several pieces by American composer Meredith Monk. An exciting and provocative experience awaits.

Manitoba Hydro Santa Claus Parade Concert

Get in the festive spirit! Before you take the kids to the
Santa Claus parade, enjoy a light holiday concert with
Camerata Nova at the Atrium of the Manitoba Hydro Building.
The free performance features Christmas classics and a
sing-along.
Saturday, November 12, 2016 at 2:30 pm.

New and Returning Curators/Conductors

We have made some changes to our creative team. Joining Andrew Balfour and Mel Braun is Vic Pankratz. Vic brings his creativity, experience and knowledge of choral repertoire to our group. You’ll get your first taste of his exciting output with Camerata Nova at Euro Nova. We also welcome the passionate and equally knowledgeable, John Wiens. Recently returned from Montréal, John replaces Ross Brownlee as our early music curator/conductor. John’s first concert with us was the masterful British Mysteries last April. More exceptional music-making can be expected next April with Isolation.

Balfour at Montreal Baroque Festival

The internationally acclaimed group Ensemble Caprice invited Andrew to collaborate on a composition and perform in La Grande Gigue, a Métis-themed concert that they presented at the 14th Montreal Baroque Festival on June 24th. The experience was a major feather in Andrew’s cap and helped Camerata Nova get closer to the movers and shakers in the Montréal music scene. Andrew will be touring with Ensemble Caprice in 2017. If funding allows, it may be presented in Winnipeg… Stay tuned!

‘Take the Indian’ at CMHR

A special performance of composer Andrew Balfour’s original work Take the Indian: A Vocal Reflection on Missing Children will be held at the Canadian Museum for Human Rights (CMHR) on Wednesday, May 25, 2016 at 7:00 pm. The evening will include a traditional ceremony and a panel discussion with Indigenous Elders and others.

Balfour, who is of Cree descent, created this moving piece about the dark legacy of Indian residential schools after attending hearings of the Truth and Reconciliation Commission. Check out a blog posting, written by Balfour’s sister Shelagh for more on Andrew in her post ‘About Andrew, my brother“.

The CMHR has helped organize this event as part of its commitment to contribute to the national conversation about reconciliation in diverse and meaningful ways. Those who attend will receive a free Museum pass so they can explore The Witness Blanket, a powerful art installation made from 800 pieces of residential schools from all across Canada, before the exhibition closes on June 25.

CONGRATULATIONS!

Congratulations to the Kelvin High School Senior Chamber Choir who were awarded the Camerata Nova Bursary at the 2016 Winnipeg Music Festival for their excellent rendition of Giuseppe Pitoni’s Cantate Domino, as arranged by Norman Greyson. The bursary is awarded to the most outstanding performance of early music by a vocalist or choir.

VOLUNTEER OF THE YEAR

Congratulations to our president, Sandi Mielitz, who has been awarded the Investors Group Arts & Culture Award for Volunteer Excellence for her work with Camerata Nova! Please consider joining us for the 33rd Annual Volunteer Awards, which will be held on April 28th at the RBC Convention Centre Winnipeg, to honour Sandi and other deserving Manitobans who represent excellence in volunteerism and community engagement in our province. Click here for more info.

OUTREACHING FOR THE STARS

In 2015-2016, Camerata Nova is offering its very first outreach program in partnership with the expansive Frontier School Division. Aiming to empower kids to express themselves using sounds and soundscapes, artistic director Andrew Balfour and singer/didgeridoo player Michael Thompson visited Bissett, Wanipigow, Black River and Matheson Island in the eastern part of Division 2, from November 30 to December 4, 2015. During phase 2, which happened from March 21 to 24, 2016, they will continue their musical adventure on the western side, in Grand Rapids, Camperville, Duck Bay and Pine Creek.

A PEAK IN THE PAST

Hard to believe, but we’re 20 years old! Visit the 20th anniversary page to read highlights of Camerata Nova’s journey and to see photos and posters of the past 20 years. Also, if you happen to have photos to add to our collection, please contact us!

EARLY MUSIC WORKSHOP

Camerata Nova presents an informal early music workshop on Saturday, November 21, 2015, from 1:30 to 3:00 pm at Westminster United Church. Conductor Ross Brownlee and noted sackbut player Catherine Motuz from Montréal will coach interested choristers and instrumentalists on 17th-century performance practice using selected pieces from the beautiful Praetorius Christmas Mass. Singers, as well as modern and period players of ANY instrument (string, wind or brass) are all welcome. Singers and instrumentalists will first meet and work separately, then gather for a rehearsal and fun performance! Fee is $10, payable at the door.

CAMERATA NOVA’S SANTA CLAUS PARADE CONCERT

Gearing up for the holiday season, join us for a sing-along at 2:00 pm on Saturday, November 28, 2015, before the Manitoba Hydro Santa Claus Parade. We’ll be giving back to the community with a free concert in the atrium of the Manitoba Hydro building featuring Christmas classics – a great way to get into the holiday spirit! Before you take the kids to the parade, enjoy a light holiday concert with Camerata Nova in the Atrium of the Manitoba Hydro Building.