The scope of the Communist totalitarian regime - and the bright Red colour that often heralded its infamous oppression and censorship - reached far beyond the geographical borders of what we now recognize as Russia and permeated the musical output of the entire Eastern Block. Off Centre celebrates the music of the Red composers - Shostakovich, Dunayevski, among others - who found salvation in their art. As we begin our 16th season "of contrasts", who but Franz Schubert could lead us out of this Red tyranny and subjugation into freedom and redemption? Join tenor Ryan Harper, baritones Vasil Garvanliev and Giles Tomkins, soprano Ilana Zarankin, violinist Jacques Israelievitch, cellist Winona Zelenka, and our very own pianists Inna Perkis and Boris Zarankin in a programme of tears and laughter.

We've uncovered a new mystery of history! Within a three year span at the end of the first decade of the 19th Century, a "Mighty Four" was born - Mendelssohn, Chopin, Schumann and Liszt! We promise not to overwhelm you with these Romantic composer heavyweights - lighter fare on our teatime menu will be provided by our winded musicians, and will include Brahms' lyrical Op. 40 Horn trio. Creating this bearable lightness of being are sopranos Allison Angelo and Eve-Rachel McLeod, mezzo soprano Erica Iris Huang, violinist Marie Berard, clarinettist Katie Norman and Joan Watson on the French horn.

Have you ever wondered why it is that the most exotic countries of Europe are found along the edges of the continent? And yet, for all their richness, fullness of character and vibrancy, they are nothing alike in their music! Our Urgo-Finnic group - made up of Bartok, Arvo Part, Kodaly and Sibelius - is entranced by mysterious Asia, while the Spaniards - Albeniz, Granados and Rodrigo - embrace the Gypsy presence and the sounds of ther North African neighbours. Inviting you on this colourful journey are sopranos Joni Henson and Teiya Kasahara, baritone Olivier Laquerre, accordionist Joseph Macerollo and pianist Ricker Choi.

Very shortly after Janacek's 1917 summer holiday in the Moravian spa-town of Luhacovice, he began setting the poems of Ozef Kalda - a railway official who had a knack for fiction writing - detailing a young farm boy's infactuation with a gypsy girl. Janacek himself was living a similar story - that summer in Luhacovice he had fallen in love - or perhaps lust? - with the young wife (he was twice her age!) of an antique dealer from Pisek. Though Kamila Stosslova did not return his affection, there are more than 700 letters that survive to chronicle the composer's unrequited affection. The Kalda settings eventually came to make up the celebrated song-cycle The Diaryof One Who Disappeared, considered to be one of Janacek's most sensual - even perverse - compositions. We leave this dramatic Czech 'glutton for punishment' (700 letters is a LOT of letters!) for another kind of music drama - this time, Italian "style"! It is hardly an exaggeration to state that there could be no Italian Opera without infidelity. To convey these tips on love, longing and lust, are tenor Colin Ainsworth, baritone Peter McGillivray, sopranos Rachel Cleland-Ainsworth and Lucia Cesaroni.