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REGINA
SYMPHONY
ORCHESTRA
Gordon Gerrard NOVEMBER
2020
Music Director
ISSUE TWO
ENCORE
CHAMBER MUSIC 1
HARMONIES WITH
HARPSICHORD
MASTERWORKS 2
SYMPHONY IN THE
Photo: Chris Graham
SPOTLIGHT
POPS 2
RUBABOO
WELCOME TO THE
2020-2021 RSO SEASON
These are extraordinary
times, to be certain. The
interruption of our previous
season was difficult, but
created in all of us an extra
determination to return to live
music making. Circumstances
have required us to reimagine
what our 2020-2021 season
will look like, and I’m thrilled
with the result. This season
will not look like any season
the RSO has offered in the
past. It will be an opportunity
to make new discoveries, and
it will give you a chance to
experience the RSO in a more
intimate and personal way.
Though the orchestra will be
smaller, it will be no less
meaningful. Our commitment
to bringing you great live
music has only been
strengthened.
Sincerely,
Gordon Gerrard
Photo: Chris Graham
2 RSO Box Office (306) 586-9555 | reginasymphony.com
SO PATRONS, BOARD,
R
MEMBERS, AND TEAM
Royal Patron: Honorary Life Members:
His Royal Highness The Prince of Wales Ken Azzopardi
KG, GCB, KT, OM, AK, QSO, SOM, CD Donna Lowe
Royal Patron of the Regina Symphony Pat Middleton
Orchestra Shirley Rowley-Mumford
Victor & Lesley Sawa
Honorary Patrons: Dale Scrivens
His Honour the Honourable Dr. Jacqui Shumiatcher
Russ Mirasty Lieutenant Governor of
Saskatchewan and Administrative Team:
Her Honour Donna Mirasty Mike Forrester, Executive Director
The Honourable Scott Moe, Premier of Cindy Anderson, Patron Services
Saskatchewan and Mrs. Krista Moe Representative
Jamie Anderson, Patron Services
The Honourable Robert G. Richards, Manager & Executive Assistant
Chief Justice of Saskatchewan and Bezal Benny, Production Manager
Ms. Patricia Youzwa Andrea Davison, Artistic Planning &
The Mayor of the City of Regina Operations Consultant
Shawn Earle, Education & Outreach
Board of Governors: Manager
Judy McCuskee (Chair) Simon Fryer, Personnel Manager
Ray Arscott Katie Gannon, Librarian
Elizabeth Cooper Megan McCormick, Director, Marketing
Merelda Fiddler-Potter & Development
Grant Karst Jaki Minett, Patron Services
Kris Magnus Representative
Colleen Murphy
Graham Purse Follow the RSO:
Annette Revet @reginasymphony
Jackie Schmidt @reginasymphony
Shawn Stevenson @reginasymphony
Ian Yeates
Audra Young
3
PATRON
SAFETY
Guidelines for the 2020-2021 Concert Attendees
The Regina Symphony Orchestra has developed safety guidelines for our patrons.
All guidelines adhere to or exceed those provided by provincial public health
officials and may change in accordance with provincial decisions as the season
progresses. The RSO will communicate any changes and updates as they occur.
* If you feel ill, please do not attend. • Once seated, we ask our patrons to
We will exchange your ticket or issue limit their movement the venue.
you a credit for a future concert. When not in your seat, please follow
Contact info@reginasymphony.com or two metre (six foot) social distancing
call (306)-586-9555 to make protocol
arrangements. Ticket exchanges will • Please follow the instructions of staff
be offer during business hours during and volunteer ushers when taking
the week following the concert. your seat, and when exiting the
• All concerts are approximately one facility. When leaving, the church will
hour, without intermission. Doors empty from the back to the front.
will open 30 minutes before show
time. Please bring any concerns up with a
• Patrons are asked to wear a mask for member of the Regina Symphony staff
the duration of the concert. If you do or the Event Team.
not arrive with one, you will be
provided with one upon arrival. Thank you for attention to these
• Hand sanitizer must be used by all guidelines as we work to keep our
patrons entering and exiting the community safe. Thank you for
venue. supporting your Regina Symphony
• Concert seating is limited according Orchestra.
to public health restrictions. Rows
required to be left vacant will be
clearly marked, as will approved
seating positions.
• All audience members will be seated
two metres (six feet) from one
another in groups of two. Patrons
who have purchased up to four
tickets may also sit together.
4 RSO Box Office (306) 586-9555 | reginasymphony.com
ORDON GERRARD
G
MUSIC DIRECTOR
Conductor Gordon Gerrard is among the new
generation of music directors changing how orchestras
work in Canada. Currently in his fourth season leading
the Regina Symphony Orchestra, Gordon has
distinguished himself as a leader in innovative and
inclusionary programming. Trained first as a pianist
and subsequently as a specialist in operatic repertoire,
Gordon brings a fresh perspective to the podium that
has endeared him to audiences and musicians alike.
After an international search, Gordon was appointed
Music Director of the Regina Symphony Orchestra, where he has taken bold steps to
reimagine the orchestra’s programming, including its Forward Currents Festival – an
event dedicated to social change. Gordon was the Associate Conductor of the
Vancouver Symphony Orchestra for four seasons and Resident Conductor of Calgary
Opera from 2007-2011. He has returned to Calgary Opera to lead productions of La
Bohème, Roméo et Juliette, Die Fledermaus, Lakmé and the Canadian premiere of Mark
Adamo’s Little Women, which was recorded for national broadcast on CBC’s Saturday
Afternoon at the Opera. Last season, Gordon made his debut with Edmonton Opera
leading the western Canadian premiere of Rossini’s Le Comte Ory. Gordon has made
appearances with the orchestras of Victoria, Kamloops, Saskatoon, the London
Symphonia and Symphony New Brunswick. Gordon has worked regularly with the
National Ballet of Canada, and in 2016, made his European debut at Kammeroper
Schloss Rheinsburg in Germany.
Gordon is a passionate and gifted educator and has spent many seasons working at
the Banff Centre, Opera Nuova (Edmonton), UBC Opera (Vancouver) and Opera McGill
(Montreal).
DECEMBER CONCERTS
Beethoven Anniversary – Dec 5
Bold Horizons – Dec 10, 11 & 12
Vivaldi Reimagined – Dec 17, 18 & 19
Photo: Rob Provencher
Buy your tickets today!
Online: reginasymphony.com
Box Office: (306) 586-9555
RSO Concertmaster Christian Robinson performs in
Vivaldi Reimagined
5
RSO
MUSICIANS
VIOLIN 1 BASSOON
Christian Robinson✪, Concertmaster Anna Norris✪✦
Carmen Constantinescu✪, Assistant Jennifer Tenford•
Concertmaster
Katie Gannon HORN
Maria Guidos-Albert Richard Burdick✪✦
Gary Borton•
VIOLIN 2
Henghan Hou✪✦ TRUMPET
David Johnson• Miles Newman✪✦
Brian Johnson Lyle Buddecke
Jeff Looysen
TIMPANI
VIOLA Lisa Simmermon✦
Jonathan Ward✪✦
Megan Zak• PERCUSSION
Jonathan Achtzehner Darcy Gingras✦
CELLO HARP
Simon Fryer✪✦ Cécile Denis✦
Amelia Borton•
PIANO
BASS Christopher Kayler✦
Christopher Jones✪✦
FLUTE
Marie-Noelle Berthelet✪✦ ✪ Regina Symphony Chamber Player
Tara Semple• ✦ Principal
• Assistant Principal
OBOE
Tamsin Johnston✪✦
Wing-Lok Soo•
CLARINET
Hyon Suk Kim✪✦
6 RSO Box Office (306) 586-9555 | reginasymphony.com
DR. PAULINE MINEVICH
TRIBUTE
Dr. Pauline Minevich had a long and successful
Photo: U of R Department of Music
performing career as an orchestral, solo, and
chamber musician, and as a teacher. She was
born in Scarborough, North Yorkshire, England,
and none of us will forget her beautiful accent. Her
death on October 12, 2020 is felt by so many of us
whose lives she touched, but none more deeply
than her beloved Ed and their son Sam.
She served as assistant clarinet with the RSO,
performed with Orchestra London Canada, and the
Kitchener-Waterloo Symphony Orchestra, and toured Europe, Canada, and South
and Central America with the Canadian Chamber Ensemble. She also toured in
Russia and in Central America with her trio Contrasts, which specialized in
contemporary classical music, and commissioned works from several
well-known Canadian composers, establishing first CD recordings of these
works.
Pauline was a long-time Examiner of the Royal Conservatory of Music and
travelled across Canada as an adjudicator, interacting with woodwind students
across the country. She was an Associate Professor of clarinet and musicology on
faculty at the Department of Music, University of Regina.
Pauline was a wonderful friend, partner, mother, musician, scholar, and teacher –
and she truly loved each of these roles. Time with Pauline was treasured, and I
believe we can keep her spirit with us through music.
May her memory be a blessing.
Written by Julie McKenna
7CHAMBER MUSIC SERIES
HARMONIES WITH
HARPSICHORD
CHAMBER MUSIC 1
Holy Rosary Cathedral
Thursday, October 15, 2020 at 7:30 PM
Friday, October 16, 2020 at 7:30 PM
Saturday, October 17, 2020 at 2:00 PM
Saturday, October 17, 2020 at 7:30 PM
Valerie Hall* harpsichord
George Frideric
HANDEL Suite in D major HWV 341
(1685–1759) Overture
Gigue: allegro
Air: minuetto
Bourée
Marche
Arcangelo
CORELLI Concerto grosso in
(1653–1713) F major Op.6 No.6
Adagio
Allegro
Photo: Chris Graham
Largo
Vivace
Allegro
8 RSO Box Office (306) 586-9555 | reginasymphony.com * Canadianchamber
music
Linda
CATLIN SMITH* Garland
(b. 1957)
Gottfried
FINGER Sonata for oboe, trumpet and continuo
(1660–1730) Moderato
Adagio
Allegro
Grave, allegro
Johann Gottlieb
JANITSCH Sonata da camera in C minor Op. 1 No. 1
(1708–1762) Adagio
Allegretto
Allegro assai
Antonio
VIVALDI Concerto in A minor
(1678–1741) for two violins & strings Op. 3 No. 8 RV 522
Allegro moderato
Adagio
Allegro
VALERIE L. HALL
BIOGRAPHY
Valerie Hall has appeared as organist, Rachel Laurin, which pays homage to the
harpsichordist and singer in Canada, the Praeludia of German, pre-Bach composer,
United States and Europe. A native of Dietrich Buxtehude. Valerie founded
Winnipeg, she holds a Bachelor of Music in Regina’s early music vocal ensemble,
Organ Performance from the University of Schola - a group which she directed for
Manitoba and a Master of Church Music several years and continues to sing with. A
from Concordia University, River Forest, past national president of the Royal
Illinois. Valerie is also an Associate of the Canadian College of Organists (RCCO),
Royal Conservatory of Music. Specializing in Valerie came to Regina in 2002 to take up
Canadian music as well as that of the the position of Organist at Holy Rosary
Baroque period, Valerie has worked with Cathedral. She is presently an instructor of
renowned early music specialists in both pipe organ and voice at the
Vancouver, Montreal, the Netherlands and Conservatory of Performing Arts, University
Belgium. In 2018, she commissioned a new of Regina, as well as organist at St. Mary’s
work for organ by Canadian composer, Anglican Church.
9CHAMBERS SERIES 1
PROGRAM NOTES
HANDEL Suite in D major HWV 341 he found the task so difficult that he died
without completing it. He passed the
George Frideric Handel, though project on to a trusted student, and
esteemed highly by his fellow twelve concerti made it through the
composers, was hardly a perfectionist; stringent editing process. The surviving
he was perfectly content to allow twelve are likely not the original works
publishers to rearrange his music, as they were first performed; instead,
without consultation, into whatever the movements are assembled carefully
forms they saw fit. Such is the case with from various concerti. The result is a
the Suite in D major, the musical guided tour, led by the composer
contents of which are a mix-and-match himself, of Corelli's career highlights.
of tunes from sources such as the
second Water Music suite and the opera
Partenope. They are arranged for CATLIN SMITH* Garland
trumpet, strings and continuo in the
virtuosic style that despite not being Tafelmusik commissioned me to create
Handel's own work, is certainly at least a new piece based on J.S. Bach’s Musical
an homage from a contemporary who, Offering. The challenge for me
like Haydn, Mozart and Beethoven, held was to compose music that embraces
Handel in the very highest esteem. the technique of composing with canons
—using the well-known theme—while at
the same time creating music with my
CHAMBER MUSIC SERIES
CORELLI Concerto grosso in F major own voice. I did use the famous theme by
Op.6 No.6 Frederick the Great (it appears in
various forms, including backwards) but
The form of the concerto grosso itself interlaced it with themes of my own.
was, although not invented by Arcangelo This garland of themes, canons and
Corelli, popularized and indelibly melodies is my offering to Tafelmusik.
associated with him. The
form—meaning literally "big Program note by Linda Catlin Smith
concerto”—features two groups, the
accompaniment (ripieno) and an entire
cadre of soloists (concertino). Corelli FINGER Sonata for oboe, trumpet and
almost certainly composed and continuo
performed an enormous number of
concerti grossi during his lifetime, the Gottfried Finger was born in the Czech
majority of which were performed but Republic, and arrived in London in his
never published. He was prolific but mid-twenties ready to make a name for
meticulous, and when it came time to himself as a composer. He quickly
choose representative samples of his obtained a post in the Catholic chapel of
concerto grosso works to be published, King James II in 1687—unfortunately for
10 RSO Box Office (306) 586-9555 | reginasymphony.comhim, only a year before James was VIVALDI Concerto in A minor for two
deposed and exiled in the Glorious violins & strings Op. 3 No. 8 RV 522
Revolution of 1688.
Antonio Vivaldi published his first set of
Fortunately, he was also skilled at concerti in 1711, a collection of twelve
composing for the theatre and amateur titled L'estro armonico (The Harmonic
recorder markets, as well as a Inspiration). By the end of his life his
boundary-pushing trumpet player. His published concerti numbered around
Sonata for oboe, trumpet and continuo five hundred works, and the sheer
was published in 1700, immediately number of them was primarily thanks to
before his temper and high opinion of his the nature of his job at the Ospedale della
own worth brought his time in London to Pietà. Although the school was an
a close. In 1701, Finger entered a orphanage, its primary place in Venetian
competition to set William Congreve's society was due to its education for its
masque The Judgment of Paris to music. female students. The girls of the Pietà
He came only fourth, and according to received a first-rate musical education,
amateur musician Roger North and the most skilled of the student
describing the incident, "declared he musicians were invited to remain in
was mistaken in his music, for he residence with the school's top
thought he was to be judged by men, and ensembles.
not by boys, and thereupon left England
and has not been seen since." The concerts at the Pietà were some of
the top entertainment in the city, and the
twelve concerti of L'estro armonico,
JANITSCH Sonata da camera in C minor including No. 8 for two violins and strings,
Op. 1 No. 1 would have been first performed there.
And, although there were many
Johann Gottlieb Janitsch spent an entire differences between the concert-going
happy and productive career composing experience of Venice in the 1700s and
in the court of Frederick the Great; not Canada in the time of COVID-19, there is
just music for the entertainment of the one significant similarity: the audience
King, but to be played by the King hearing Vivaldi's string concerti for the
himself. Frederick's main instrument first time were also not permitted to
was the flute, and Adolphe Menzel's gaze upon the faces of the musicians
painting Flute concert in Sanssouci playing them. Vivaldi's audience and his
provides a description of the atmosphere performers were separated by a metal
that Janitsch's sonata da camera was grate, intended to preserve the modesty
intended for: The royal flutist stands, of the female performers.
surrounded by musicians and noble
ladies and cast in the soft glow of Program notes by Anna Norris
chandeliers and candles. The painting is
warm and inviting, a scene that any
musician would be happy to step into
and take part in, and one that provided
Janitsch with a lifetime of livelihood,
inspiration and friendship.
11MASTERWORKS SERIES
SYMPHONY IN THE SPOTLIGHT
MASTERWORKS 2
Holy Rosary Cathedral
Thursday, November 19, 2020 at 7:30 PM
Friday, November 20, 2020 at 7:30 PM
Saturday November 21, 2020 at 2:00 PM
Saturday November 21, 2020 at 7:30 PM
Gordon Gerrard* conductor
Franz Joseph
HAYDN Symphony No. 96 in
(1732–1809) D major “Miracle” Hob. I:96
Adagio—allegro
Andante
Menuet: allegretto
Vivace
Kevin
LAU* Prelude to Dawn (2011)
(b. 1982)
Dmitri
SHOSTAKOVICH Chamber Symphony
(arr. Barshai) in F major Op. 73a
(1906–1975) Allegretto
Moderato con moto
Allegro non troppo
Adagio
Moderato
12 RSO Box Office (306) 586-9555 | reginasymphony.com * Canadianmasterworks
masterworks
SYMPHONY IN THE SPOTLIGHT
PROGRAM NOTES
HAYDN Symphony No. 96 in D major beginning with an interplay between the
“Miracle” Hob. I:96 two solo violins. The principal of those
parts was played by Johann Peter
Franz Joseph Haydn's 96th symphony Salomon, the violinist who had brought
was written for the very first concert of Haydn to London; a thank-you from the
the Austrian composer's very first trip to composer to a friend for the adventure
London; the story behind its subtitle, of a lifetime.
Miracle, provides some idea of the
enthusiastic reception he received there.
The concert took place in the Hanover LAU Prelude to Dawn
Square Rooms, one of the trendiest
venues in London. The room contained a Prelude to Dawn derives its title and
chandelier of the type commonly found inspiration from the world of dreams
in theatres of the day; a fickle thing and the unconscious state. In a dream,
which needed to be hauled up and down the mind weaves a narrative governed
from the ceiling using a hand-cranked not by reason but by chaotic and
pulley. The public's enthusiasm for the irrational impulses, which draw
concert was enormous; attendee and imperfectly from references in 'reality,'
music critic Charles Burney wrote in his motivating and shaping the content of
diary, "Haydn himself presided at the the dream in bizarre ways. Yet it is these
pianoforte: and the sight of that very impulses which resonate and form
renowned composer so electrified the the basis of a coherent experience, one
audience, as to excite an attention and whose internal logic collapses only upon
pleasure superior to any that had ever, conscious awakening. In this piece, I
to my knowledge, been caused by have tried to capture some aspect of this
instrumental music in England." The mystery by creating defects in the work's
public's desire to get close to the underlying architecture. My attempts to
famous composer was so great, in fact, flirt with the boundaries of coherence
that they crowded up against the front of reflect my ongoing fascination with
the stage—meaning that when the deeper structure and meaning.
chandelier in the centre of the room The piece opens with a sparse, repeated
crashed to the ground, the audience pattern of notes on a single pitch (D), a
escaped miraculously unscathed. stuttering thread reminiscent of an
electronic signal like morse code.
The Miracle symphony is in four Initially monolithic, this string texture
movements: a slow opening attached to grows gradually to encompass all twelve
a first movement in sonata form, and pitches and instruments. It is then
ensuing slow second movement, third interrupted by a pair of ideas—an
movement minuet, and quick finale. The off-kilter, folk-like dance in the winds,
second movement contains a special and a rhythmic motive comprised of
gift: an extended orchestral cadenza, perfect fifths. Both vanish as abruptly
13as they appear, only to re-emerge in a "Rumblings of unrest and anticipation,"
later context, the former with increasing the third "The forces of war are
menace and the latter eventually unleashed," the fourth "Homage to the
elevating the piece towards its luminous dead," and the fifth "The eternal
conclusion. question: why and to what purpose?"
Perhaps it is the title of the fifth
Program note by Kevin Lau movement, a questioning of the
machinery and object of war itself, that
gives a clue as to why Shostakovich
SHOSTAKOVICH/arr. Barshai removed the subtitles almost
Chamber Symphony in F major Op. 73a immediately: he no longer had the
latitude to make statements that could
"Cynical, pernicious grotesquerie," be read as putting "emphasis on the
wrote Soviet music critic Israel Nestyev ugliness and cruelty of life."
in 1946 of Dmitri Shostakovich's latest
symphony, "[a] tone of relentless "I have a burdensome and horrifying
mockery and ridicule, emphasis on the memories of the events I witnessed,"
ugliness and cruelty of life, the cold said Rudolf Barshai of the period of
irony of stylization." Shostakovich's censure by the Soviet
government, during which Barshai was a
Most musicians and artists understand student at the Moscow Conservatory. For
the sting of a negative review; few, all that government officials and the
however, have felt the horror that ignorant public abandoned and
Shostakovich and his contemporaries in ostracized Shostakovich, he never lost
the Soviet artistic scene felt at a poor the respect of his students: "All the
review from exactly the wrong reviewer. pupils always regarded Shostakovich as
In 1946, the year during which a God. His advice in composition class
Shostakovich composed his Third String was so wonderful, so precise, and so
Quartet which his student Rudolf Barshai precious." Barshai's adoration for his
later arranged into a chamber friend and mentor is evident in his
symphony, the tides of official opinion transcriptions of Shostakovich's string
were turning perceptibly against him. quartets. Barshai uses his experience
both as orchestral musician and a
The atmosphere into which the Third conductor to expand Shostakovich's
Quartet was written and performed, moody, intensely personal quartets into
then, was one of abject terror, which is the declamatory and outwards-facing
reflected in the mystery surrounding its genre of the symphony; drawing his
meaning and intention. The burdensome memories of
five-movement quartet originally came totalitarianism out of the darkness and
with programmatic subtitles, suggesting into the light.
that Shostakovich intended the work to
be a rumination on war. The first Program notes by Anna Norris
movement depicted "Calm unawareness
of the future cataclysm," the second
14Photo: Chris Graham
USE YOUR PHONE AND THE VOLUNTEERS
LINK TO DONATE ONLINE NEEDED!
Donate to your Regina We are looking for
Symphony volunteers to help with our
concert season! Earn
By supporting the RSO, you play a volunteer hours, listen to
vital role in bringing great orchestral great music and support your Regina Symphony.
music to our community. The music of the RSO
depends on people like you – lovers of music, Duties include set up, greeting guests,
who enjoy attending performances and managing guest lists, seating according to social
recognize the value of investing in our work. distancing, and clean up, also enjoy the concert .
Working as part of a team, supported by the
Visit www.reginasymphony/donate to sign up for
RSO staff.
monthly or legacy gift
As a thank you, for every two shifts worked, you
Donations $20 and over made by December 31st
will receive a 2020 tax receipt will receive two tickets to an RSO concert of your
choice.
To sign up, please email
info@reginasymphony.com
15POPS SERIES
RUBABOO
POPS 2
Holy Rosary Cathedral
Thursday November 26, 2020 at 7:30 pm
Friday November 27, 2020 at 7:30 pm
Saturday November 28, 2020 at 2 pm & 7:30 pm
Gordon Gerrard* conductor
Andrea Menard* vocals
Robert Walsh* guitar and vocals
Andrea Menard’s Pops Show, Rubaboo,
which is the Metis word for stew,
is a delicious musical declaration of love,
sovereignty, Metis culture, and as
always…some jazz to add some flavour.
Original songs by Andrea Menard
& Robert Walsh
Orchestrations by Lucas Waldin,
Charles T. Cozens, Robert Walsh,
John Welsman, Pete Coulman,
Anthony Rozankovic,
Photo: Kristine Cofsky
Micki Erbe, Rick Wilkins
16 RSO Box Office (306) 586-9555 | reginasymphony.com * Canadianpops
ANDREA MENARD ROBERT WALSH
BIOGRAPHY BIOGRAPHY
Andrea Menard is an accomplished Robert Walsh is known for personal,
Métis singer/songwriter, actor, and engaging and dynamic shows, whether
speaker and is the founder of the Sacred performing his music as a solo
Feminine Learning Lodge. guitarist/vocalist, or with combos, big
bands or symphony orchestras. He has
One of the stars of the APTN/Netflix
long been a first-call musician (regular
series, Blackstone, Andrea is a five-time
guitarist with the Edmonton Symphony
Gemini-nominated actress, a 15-time
Orchestra, session musician, sideman
music award winner, and her TEDx Talk
who has performed with artists such as
called “Silent No More” has reached
Stewart Copeland, The Pointer Sisters,
over 126,000 views. She has released 4
Tom Cochrane, Renée Fleming, Petula
award-winning albums, two
Clark, Johnny Reid), and is also known
made-for-television programs and has
as Andrea Menard’s longtime
now debuted two Pops concerts with the
collaborator and producer. Robert is well
RSO.
known to both English and French
Andrea dedicates her life and work to audiences, and was a member of
empowering both the Indigenous and the Edmonton francophone "supergroup"
Feminine voice through song, story, Allez Ouest, and renowned Blues duo
activism, training, and healing. As seen Two Blue, and is also the creative force
in USA Today, Andrea is an influencer in behind Robert Walsh and the Fabs,
Feminine leadership and is also an whose album "Robert Soul" featured his
advocate for rematriation and unique arrangements of Beatles songs.
reconciliation. Robert Walsh is a prolific and respected
Andrea is a proud member of the Metis songwriter and a gifted guitarist, and
Nation of Canada. She carries the name brings a wealth of experience, virtuosity,
Skooteah Equahh, which means Fire versatility, humour and joy to every
Woman in Anishinaabe and the Cree performance.
name Notigwew Yutin, which means
Grandmother Wind.
On Nov 27th, 2020 The new single will be debuted with the RSO during
Andrea Menard Andrea’s run of Rubaboo. Co-written with Robert Walsh, the
song captures an Elder woman’s journey to understand her
Officially Launches experiences in residential school. Buy the song. Play the song.
Her New Song, Share the song.
“Where Is God In
This Place.” Join in Andrea’s efforts to raise awareness of Indian
Residential Schools and the Truth and Reconciliation
Commission’s 94 Calls To Action.
“Where Is God In This Place” is available on Spotify and iTunes.
17FUNDING
PARTNERS
GRANTING AGENCIES
MAJOR SPONSORS
Dr. Roberta McKay & Mr. Elmer Brenner Eden Care Communities
CanadaLife Casino Regina
SGI Canada
K+S Potash
FOUNDATIONS
The Lorne & Evelyn Johnson Foundation Bill & Helen Davidson Foundation
Donald & Claire Kramer Foundation Drs. Lewis & Elizabeth Brandt Foundation
Ann & Roger Phillips Foundation Doris and Clarence Taylor Foundation Fund
G. Murray & Edna Forbes Foundation
SERVICE PARTNERS
Holy Rosary Cathedral The Atlas° Hotel
Bradbury Brand + Design Experts Special Event Rentals Regina
Western Litho Printers
The Diplomat
THANK YOU, BUSINESS CLUB MEMBERS
Thank you to our Business Club members for your continued support of the Regina Symphony Orchestra!
For more information, please contact Megan McCormick, Director of Marketing & Development at
mmccormick@reginasymphony.com
18 RSO Box Office (306) 586-9555 | reginasymphony.comTHANK YOU
DONORS
Music Director’s Circle Symphony Heather Salloum
$10,000+ annual total gift $600+ annual total gift Luba & Adrien Tatarinoff
Judy & Bruce McCuskee Gladys Boehler Brett Waytuck & Wes D.
Bryan & Joanne Hillis Dianne & Brian Burrows Pearce
Jim Campbell Peter S Wyant
Silver Circle Lana and Dana Gray Ian & Nora Yeates
$5,000+ annual total gift Margaret A. Hammond Anonymous (2)
D. E. Andreas - In Memory of Russell & Sheila Hart
Victor Andreas Ron & Margaret Hopkinson Our list recognizes donations
Lyn Goldman Merle & Hans Gaastra made between October 1, 2019
Harvard Developments Inc., Colleen J. Robinson to October 15, 2020. While we
a Hill Company Gary and Bunny Semenchuck take the utmost care ensuring
William Shurniak Anonymous our list is accurate, we
Anonymous
recognize that errors may
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occur. We appreciate your
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David & Marilyn Hedlund Murray Carswell today
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Jackie Schmidt Dr. Doug and Joanne Durst
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Achtzehner
In Memory of Vernon M.
Griswold
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Jean Henders
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Dawn Redmond-Bradley
19A Message from Holy Rosary Cathedral
At the November 28th RSO concert later this
month, we will be honoured by the presence of
the Lieutenant-Governor of Saskatchewan, the
Honourable Russ Mirasty, in our Cathedral. To
him, and the government and civic officials who
will also be in attendance, we offer our heartfelt
welcome.
This event is particularly significant for us,
because of a special connection with the office of
the Lieutenant-Governor. You cannot fail but
notice the beautiful stained-glass windows (33 of
them) in our building, designed by Andre Rault of
Rennes, and installed in 1949 by Paul Hanley of
Burns-Hanley. Prominent pieces are the large
rose window facing 13th avenue, which can now
be seen only from the outside, and the two
smaller ones on either side of the front of the
church.
However, it is the first window next to the
Tabernacle and facing west, that is of particular
historical interest to our city and province. It is
that of St. Thérèse of Lisieux, donated in memory
of the first Lieutenant-Governor of
Saskatchewan, the Honourable Amédée Forget,
by his widow Henriette. His image is visible in the
lower part of the window.
Top: St. Thérèse of Lisieux window
with image of Honourable Amédée Again, it is with pride that we welcome to our
Forget and dedication below. beautiful cathedral our esteemed guests and all
the patrons of the Regina Symphony Orchestra.
Above: East rose window
Rev. Danilo Rafael, Pastor, Holy Rosary
Cathedral
Samira McCarthy, Chairperson, HRC Pastoral
CouncilYou can also read
