It’s a chilly evening just after rush hour on Wellington Street West, and musicians begin slipping through the side doors of Parkdale United Church. Cellists cradle their cases, woodwind players warm reeds between their palms, and violinists flex their bows. Soon, the sound of rich, resonant music begins to drift from the church basement and spill onto the street outside.
For oboist Yvo De Jong, who lives only a few blocks away, this weekly ritual has been part of his life for more than two decades. Originally from the Netherlands, De Jong moved to Ottawa when a good job in radio propagation science brought him to the city. The Parkdale Orchestra, he says, is woven into the rhythm of his neighbourhood.
“First of all, the social aspect—I like seeing my friends on a weekly basis and actually doing an enjoyable activity with these people. It’s very collaborative, playing in an orchestra,” said De Jong. “And being able to play some of the music you love yourself is just very satisfying.”
That collective spirit is at the heart of the orchestra’s next major performance, Shakespeare in Music, set for January 31.
It’s a program that moves boldly through three distinct musical interpretations of Shakespeare: Prokofiev’s fiery Romeo and Juliet, Mendelssohn’s whimsical A Midsummer Night’s Dream, and Dvořák’s sweeping Othello overture. Across the evening, listeners drift from balcony scenes to enchanted forests to the shadowed intensity of Venetian tragedy—without ever leaving the church pews.
Music Director John Kraus said audiences can expect a journey through contrasting moods and textures: Prokofiev’s Romeo and Juliet pulses with dramatic tension, capturing the skirmishes and secret rendezvous of the star-crossed lovers; Mendelssohn’s A Midsummer Night’s Dream sparkles with light, whimsical melodies that conjure fairies and enchanted forests; and Dvořák’s Othellooverture swells with dark, romantic intensity, immersing listeners in the emotional storms of Venetian tragedy.
“We’re going to be presenting Prokofiev’s second suite from Romeo and Juliet… We’re also going to be presenting incidental music from A Midsummer Night’s Dream. And then a concert overture by Dvořák—the Othello concert overture,” said Kraus.
Kraus, now in his fourth season with Parkdale, has helped shape the orchestra’s upward momentum since returning from the long pause of the pandemic—something De Jong has witnessed firsthand.
“We have improved quite a bit since 20 years ago… and under John Kraus, our new music director, I think we’re continuing that upward trajectory,” said De Jong. “Since we’re all back together, that upward trajectory is back and we’re better than ever, I think.”
Kraus brings a curious, exploratory approach to programming, often blending classic repertoire with works by Canadian and contemporary composers—a philosophy De Jong quickly noticed.
“John likes to play Canadian composers… female composers… Indigenous and world music. So these are things that are probably different under him,” said De Jong.
That blend of tradition and discovery will retake centre stage in the spring. The orchestra’s May concert, titled Water, will feature local composer Christine Donkin’s evocative work Canoe Legends, paired with Dvořák’s The Water Goblin and Debussy’s La Mer. For Kraus, Donkin’s music represents the kind of Canadian storytelling he wants to bring forward more often.
“The piece Canoe Legends hasn’t been played since. It’s a real shame because it’s a beautiful work… My mantra would be we’ve got to look from within and find local things, find current things and put that together with some of the chestnuts,” said Kraus.
Despite the orchestra’s ambition, both musicians stress that Parkdale remains a welcoming, volunteer-driven ensemble—one that offers space for players to grow, connect, and even rediscover their musical identities.
For De Jong, who plays the oboe—the instrument responsible for giving the tuning note before each concert—it’s a rare place where he can step outside his normally introverted self.
“In normal life, I’m slightly introverted, but as an oboist, you get to play solos where you can shine and express yourself. That’s different from my normal life,” he said, laughing.
Kraus, a longtime educator, sees that transformation in many of his players.
“My mantra was to give opportunities to people to experience something that I have a passion for. Being able to share good music with people—I hope they will appreciate and treasure it and maybe go on and share it with somebody else,” he said.
And while the orchestra has grown stronger in recent years, one thing hasn’t changed: its openness. Kraus said new musicians of all levels are always welcome.
“We are always looking for musicians… I would encourage people to find an artistic outlet… it will change you as an individual as well,” said Kraus.
