- $25 for mezzanine seating (up to $148 value)
- $25 for main floor seating (up to $90.75 value)
- $25 for balcony seating (up to $70.50 value)
- Click here to view the seating chart.
On March 23 and 24, renowned conductor Stéphane Denève will lead the Toronto Symphony Orchestra in a pair of performances paying tribute to the sights and sounds of the Mediterranean. Listeners will be transported to Rome by Hector Berlioz and Ottorino Respighi, to Egypt by Camille Saint-Saëns, and to three Mediterranean ports by Jacques Ibert. The March 23 performance will kick off with a pre-show chat with classical music expert Rick Phillips, and both performances will include a CD signing by featured pianist Jean-Yves Thibaudet.
- Berlioz—Roman Carnival Overture: This piece was born by accident. When Berlioz was pressed for time on new material for the 1843 season, he recycled two themes from his opera Benvenuto Cellini, unaware that the resulting refashioned work would become a staple of his concert repertoire.
- Saint-Saëns—Piano Concerto No. 5: Camille Saint-Saëns’s final piano concerto, commonly known as The Egyptian, evokes scenes of towering pyramids and flowing Nile waters while borrowing heavily from Javanese and Middle Eastern music. That’s hardly a surprise, though, considering the composer frequently vacationed in Egypt and in fact penned the piece while staying at the temple town of Luxor.
- Ibert—Escales (Ports of Call): This odyssey transports listeners to three bustling ports along the Mediterranean, incorporating region-specific folk tunes throughout the journey. It first debuted in 1924 and, oddly enough, proved perhaps too successful: years later, Ibert lamented, “I have written twenty important works since Escales, but always when they speak of Ibert, they talk about Escales!”
- Respighi—Pines of Rome: Four distinct movements compel listeners through time, as Respighi conjures the colors of ancient, Renaissance, and modern Rome. At its premiere in 1924 (in Rome, no less), the bright and wild first movement had the audience scoffing and jeering. But by the final movement, they were applauding its beauty before the piece had even concluded.