This is a list of concerts we are attending, wishing we could attend, or thinking about attending between March 9 and 15, 2026. For more of what’s happening around Toronto, visit our calendar here.
Tafelmusik Baroque: A Bach Celebration
Thursday, March 12, 7:30 p.m.; Friday, March 13, 8 p.m.; Saturday, March 14, 8 p.m.; Sunday, March 15, 3 p.m.
Trinity St. Paul’s United Church, $23.50+
Bach spent his last four decades writing amazing cantatas, and Ivars Taurins, with his deep musical scholarship and incredible musicianship, has programmed an evening of drama, beauty, and expressivity. These works have survived 270+ years since Bach’s death in 1750, and his massive contribution to Western classical music still runs hot through its veins. However, as Bach is so beloved, we do tend to hear a selected few favourites on repeat; Taurin’s decision to focus on less-performed works brings an interesting perspective to even the most seasoned Bach aficionados. Come out and experience that familiar Bach genius through fresh works, as two soloists, Myriam Leblanc and James Rees, shine atop the Tafel ensemble. Read our Preview here. Info here.
University of Toronto Opera: The Rape of Lucretia
Thursday, March 12, Friday, March 13, Saturday, March 14: 7:30 p.m.; Sunday, March 15: 2:30 p.m.,
Harbourfront Centre Theatre, $10+
Britten’s mastery of difficult human emotions, especially in opera, is unrivalled. Exploring deeply into the ugly side of the human psyche, the Rape of Lucretia, his first chamber opera, employs a small ensemble — tiny, compared to the usual grande opera scale. However, designed for tours, the intimacy and clarity of the chamber opera, involving just eight singers and thirteen instrumentalists, creates an unusually intense and devastating form of storytelling. Opening with banging dissonances, we are greeted with quite a situation: “Rome is now ruled by the Etruscan upstart…” How did Tarquinius reach the throne? By making his own virtues and his will bent to the purpose of determined evil. The simple plot, where Lucretia is raped by the narcissist Tarqunius who simply uses rape as a weapon of boasting, leaving her to simply choose death, is perhaps too unreal. Or is it too real? Where are we in the world, and what are our values? Epstein files aside, this century-old plot isn’t just a story. It is real for so many — even one would’ve been too many, yet here we are. Who is Tarquinius? And should we still expect Lucretia to choose death? Would today’s Lucretia have lived — if yes, how? It is very difficult to forget Virginia Giuffre’s death, and her harrowing tales. Brock Turner, with his Stanford swimming team glory, raped two girls, then was too sad to eat a steak while waiting for the trial — is this where we are? Did we go anywhere since 1949, or from the Roman times? Who could tell? Come and experience Britten’s genius, and take another look at our own world, as Lucretia’s final aria, blood-stained and soaked in shame, rings against all the wrongs that the weak face, against the tyrants of the world. Info here.
Toronto Symphony Orchestra. Dvořák’s Cello
Thursday, March 12, Friday, March 13, Saturday, March 14, all shows at 7:30 p.m.
Roy Thomson Hall, $67+
The TSO brings a perennial favourite, Dvořák’s Cello Concerto, with Pablo Ferrández. Armed with the Stradivarius “Archinto” 1689 on a life-loan, Ferrández, hailed as one of the best modern upcoming cellists, well-known for his beautifully romantic interpretation and slightly unorthodox use of vibrato, is an exciting soloist choice. Gimeno’s connections have been a great asset to the TSO, not only in general morale and quality playing, but also bringing in new talents to the city, including the music of Francisco Coll. Coll’s piano concerto, “Ciudad sin sueño” with the Spanish giant Javier Perianes, and “Elysian” — both were simply stunning. He is easily one of the best current composers of our time. Seeing Coll’s “Lilith”, a TSO co-commission on the program for its North American premiere, is an exciting perspective. New music isn’t scary or difficult. Rather, our perception of what music should be makes things impossible at times — expectations are limiting and confining. Coll’s kinaesthetic energy and beautiful orchestration is hauntingly beautiful, so put away your worries about things unknown — after all, it’s in our human nature to go explore. Come and keep your ears and senses open to Coll’s world. If it leaves you slightly uneasy, don’t worry, the timeless beauty of Dvořák’s Cello Concerto will soothe anyone, and everyone. Info here.
That Arts Group: That Community Choir — Folk Songs
Saturday, March 14
Church of St. Mary Magdalene, 477 Manning Ave., $10+, Pay What You Can
That Arts Group, led by Craig Pike, Artistic Director, has been diversifying and growing beyond That Choir in the last few years. Now TAG has a theatre venture, That Theatre Company, and a community-based choral group, That Community Choir, plus a physical homebase space — that’s quite a feat. Judging from the serious commitment to artistry of TC, TCC promises a lovely evening of community-based music making through folksongs from around the world. TCC’s first concert was a year ago — let’s see how they’ve grown over a year, and join them in the true beauty of choral singing — in the heart of a community, built through the vulnerability of singing together. Bring all your friends; at pay-what-you-can, starting at $10, it’s a very generous way to experience live performance. Info here.
Royal Conservatory of Music: An Afternoon of Bach
Sunday, March 15, 2 p.m.
Mazzoleni Concert Hall, Royal Conservatory of Music, $25+
Bach is certainly in the air this week. Faculty and students of the Glenn Gould School are joined by Jens Lindemann on trumpet for three concerti this Sunday afternoon. Lovely Sarah Jeffrey, principal oboe of the TSO, and Jonathan Crow, the concertmaster of TSO and newly appointed director for the Temerty Orchestral Program, will open the afternoon with Bach’s Concerto for Violin and Oboe in C minor, followed by Brandenburg Concerto No. 5 — the harpsichord extravaganza — and Brandenburg Concerto No. 2, a work focusing on the brilliance of upper register instruments: trumpet, flute, oboe, and violin. With spring on its way, albeit leisurely, this brilliant music can certainly help to lift the spirits against the slow thawing of March. Info here.
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Cecilia tumbled into ‘serious’ music study when she decided to avoid attending medical school. Currently working in the field of classical music, recording, and Korean-English interpretation, she tends to get her nose dirty in many different things in the city. Cecilia holds a DMA in Piano Performance from the University of Nebraska-Lincoln.
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