The Next Generation of Musicians Shines Brightly at Salle Claude-Champagne
by Elena Mandolini
Satuday night in Salle Claude-Champagne, Université de Montréal’s Faculty of Music, was the 2024 edition of the Étoile Montante concert, featuring the Orchestre de l’Université de Montréal (OUM). The event also featured student soloists (Fiona Wu, piano and Catherine Chabot, flute), conductors (Lori Antounian and Marie-France Mathieu) and composers (Edwin H. Ng and Luis Ernesto Peña Laguna). A colourful evening of breathtaking interpretations!
The first part of the concert featured the premiere of Of breath, movement and boxing by Edwin H. Ng, winner of the 2023 OUM Composition Competition. The piece is enigmatic, evocative and animated by an anxious energy. The textural interplay in this piece is particularly interesting: you could hear the wind, at times soft and melodic, at other times percussive, echoing, as it were, the freezing temperatures the audience had to brave to attend this concert.
And the audience was rewarded! The second piece on the program, Beethoven’s Piano Concerto No. 4, performed by Fiona Wu, 3rd prizewinner in the OUM Concerto Competition, was breathtaking. The pianist interpreted the most virtuosic passages with lightness, ease and suppleness, while demonstrating remarkable strength and power in the passages requiring a stronger attack. The melodies, passing from one hand to the other, are always clearly audible. What’s more, the OUM’s ensemble playing and the dialogue between orchestra and soloist are impeccable, and the sound balance is excellent.
After intermission, the audience is treated to a second premiere, of the work SAR by Luis Ernesto Peña Laguna, also winner of the OUM Composition Competition. This work, which contrasts with the first premiere, is just as magnificent. More tonal, this work is filled with movement, which we guess is cyclical, since the work begins and ends in similar ways. High-pitched spun tones in the strings give way to beautiful melodic flights from the rest of the orchestra. The use of percussion is also noteworthy: sometimes subtle, it is always present, adding an interesting texture.
The evening closes with a solid and convincing performance of Conversations for flute and orchestra by Denis Gougeon, with Catherine Chabot as soloist. The work unfolds with precision. The soloist’s clear sound fills the hall effortlessly, and she attacks the fast passages with assurance and flexibility. For its part, the OUM plays its role perfectly as accompanist, but also as interlocutor (as the title of the work suggests). The orchestra shows great solidity and restraint in the slower first movement, and precision in attacks and cuts in the more percussive second movement.
The two student conductors also did an outstanding job, successfully leading these demanding works. On stage, it was clear that the enjoyment and love of music were in abundance. After an evening like this, there’s no need to worry: the next generation of musicians is in good hands.
For the complete program of the Université de Montréal Faculty of Music, click HERE!
Until 9 pm, the Igloofest playground slowly filled up. Thursday evening saw the return of the container-stocked venues, now transformed into multi-purpose structures (terraces, screens, bars, etc.) Four consecutive weekends began on Thursday, January 18, with a succession of DJ producers who clearly didn’t stand out from the crowd, and then…
For those who think that Igloofest has become an event whose programming is definitively formatted, here’s a striking counter-example … or a convincing example of the still quivering audacity of its artistic direction: the hour spent with Marc Rebillet that can’t be compared to any of the (thousands of) sets presented at Igloofest since its foundation in 2007.
Lightly clad, the guy opens hostilities with a thunderous “Why the fuck is it so hot here!” It was below -10 degrees on the crowd floor, but on stage, it was visibly hot! Born of a French father and an American mother, the American artist is one of the rare creatures of the electronic movement to offer such an hour of improvisation.
Marc Rebillet appears before the thousands of one-pieces and their occupants with his provocative looks, but also with his uncommon ability to improvise in real-time: with his electronic equipment, needless to say, but also with keyboards and his voice, the powerful voice of a pop-soul singer.
He triggers a house beat, techno beat, or a more tribal one, with which he can juxtapose voices in real-time. He can howl at the moon or improvise a melodic line, he can loop a series of chords laid over a rhythmic framework, he can swing engine rumblings, he can harangue the crowd and provoke it with absurd humour, especially when he screeches in impeccable French (with a charming accent) that he doesn’t speak French.
His harmonic jazz and funk keyboards add even more depth to his show, which is clearly atypical in the context of Igloofest. Few artists of this kind are capable of capturing attention by stopping the machines for long minutes and slipping in very simple vocal melodies or other borborygmus, then restarting the party to the delight of festival-goers. What a beast! And that’s a promise of things to come, for there are still 11 evenings left of Igloofest, where fire can burn through ice.
Photo Credit: Madeleine Plamondon
Searching for Goya : Absolute Flamenco, and More
by Frédéric Cardin
Last night at Théâtre Maisonneuve, Place des Arts, was the Canadian premiere of Searching for Goya, an existential choreography based on classical flamenco, above all, but also modern dance and a little ballet. Productions Nuits d’Afrique did us a favor (a rose in our hair, no doubt!) by inviting New York company Soledad Barrio and Noche flamenca to present their show in Montreal, shortly after the premiere in Seattle a few weeks ago.
Photo credit: Peter Graham
Searching for Goya is inspired, you guessed it, by the art of Francisco de Goya (1746-1828), the great Spanish painter who revolutionized painting in his day and remains one of the greatest visual artists of all time. Even today, his visceral, sometimes explosive art, his message and his style remain totally modern and visionary, without having aged a single day.
That said, if you’re not a Goya specialist, you’ll have to look for Goya in the choreography, as the title suggests. The presence of the painter and his work remains in the background, like a ghost, a presence sublimated rather than exposed, although some passages are more obvious. But in the end, this detail is not decisive, because the irrepressible emotional force that emanates from the stage work of dancer Soledad Barrio and director Martin Santangelo overwhelms the spectator. We are caught up in a flamenco that is both rooted in tradition and in an expansive vision in which modern dance and symbolism come together holistically.
The set is almost bare, with few props apart from a few chairs and simple costumes, embellished by a few rare additions, such as the wings (of angels?) seen at the beginning and very end of the piece. There is no projection of paintings or engravings by Goya. This is not a pop show of the kind currently in vogue. We are elsewhere. In the unspoken, in the allusion, in a depth that demands concentration on the part of the spectator.
Modo de volar (1819) and Witches’ Flight (1798), Francisco de Goya
But in the end, it’s the flamenco that says it all. And the performance by the 13 or so artists on stage is equal to the task. Stunning in its rhythmic perfection, its overall coherence and coordination, its incandescent expressiveness, its sensory fire. There’s never a gap between the kicks, the claps, the guitar attacks. Everything is timed to the split second. It leaves you breathless.
Perhaps we could have benefited from supertitles, to match what we see with what we hear, sung or chanted. That’s the only nuance I would add to the appreciation of this unique and original show. If you’re not a Goya connoisseur, or if you don’t speak Spanish, or both, you won’t get the full experience. That’s how good Searching for Goya is, if, despite these shortcomings, the average audience member comes away delighted and hugely impressed.
MSO and Rafael Payare start 2024 with Mahler’s Symphony No. 7
by Alain Brunet
The Montreal Symphony Orchestra is back in action at dawn of 2024, the Maison symphonique is vibrating this week to the sounds of Mahler and Szymanowski, and its occupants are doing just fine.
Simone Lamsma is not on the Wikipedia list of top Dutch violinists, but she will be soon. Indeed, it takes a hell of a sound to transcend the score of Karol Szymanowski’s fabulous Violin Concerto No. 1, which regularly frequents the high frequencies, particularly in the parts without symphonic accompaniment.
The notes must be particularly well supported to avoid any irritation in the treble, which the musician achieves in the best possible conditions. What’s more, Simone Lamsma’s sparkling playing includes flawless articulation in high velocity, and the intelligibility of her interpretation is rarely impaired by the orchestra, whose support the maestro has provided with near-perfection.
The musical relationship between Rafael Payare, the MSO and the soloist certainly augurs well for future encounters. The choice of Szymanowski’s Violin Concerto No. 1 is to be applauded, as this composer, born in a border area of Poland (now part of Ukraine), worked during the same period as the great pre-modern and modern composers, i.e. at the early beginning of the previous century. The harmonic advances, rhythmic diversity, melodic modernity and orchestrations are comparable to those of the most popular composers of the period.
A judicious choice on the part of the OSM’s artistic director, who is also banking on the discovery of a modern repertoire, including this work considered by specialists to be the first modern concerto for violin and orchestra.
As for Gustav Mahler’s Symphony No. 7, a colossal 77-minute work divided into 5 movements, the effect is more than striking – not to mention the inappropriate clapping of a part of the audience that is never reprimanded by the OSM, a choice of accessibility that is certainly defensible, but that tests the tolerance of the majority of music lovers present in the hall.
While it takes a thorough knowledge of Mahler’s best interpretations of this 7th symphony to detect the minor flaws perceived on Tuesday evening, a few adjustments will be required to reach the excellence of the 5th, masterfully played by the OSM and Payare last winter. In the first of three concerts on the same program, everything indicated that the Montreal orchestra and its conductor could already delight the audience, and that the adjustments made this week would lead to a top-notch performance.
As we saw and heard in the first movement, a little less successful than the others, it’s very difficult to capture this orchestral dialectic between the shadows of night and the light of day, between moments of little happiness embodied by lighter arias and dark, dramatic moods.Gustav Mahler was undoubtedly a tormented man, but we can’t accuse him of not having sought out the brighter side of human existence, hence the chiaroscuro deployed throughout this 7th symphony, built around a central scherzo. This scherzo is enveloped by two dark, star-spangled nocturnal movements, the famous Nachtmusik 1 and 2, topped by a rondo-finale.
The fifth and final movement ironically evokes the quest for happiness, if we are attentive to its subtle caricature. An almost impossible quest in Mahler’s universe… doesn’t the darkness eventually win out, paradoxically to our delight?The fifth and final movement ironically evokes the quest for happiness, if we are attentive to its subtle caricature. An almost impossible quest in Mahler’s universe… doesn’t the darkness eventually win out, paradoxically to our bliss?
photo: Antoine Saito
Schulich School of Music | Martin Luther King, Drum Major
by Frédéric Cardin
Martin Luther King Jr. Day is celebrated every third Monday in January, not only in the United States but also here in Canada. Last night, Montreal held its commemorative event with a concert in McGill University’s Tanna Schulich Hall. The concert featured a work by John Hollenbeck for three trombones, drums, piano, accordion, electric guitar, marimba and vibraphone, The Drum Major Instinct: Three Settings of MLK Jr’s Last Sermon. The premise is as follows: based on a recording of MLK’s (Martin Luther King) last sermon, given on 3 April 1968 in a Memphis church, two months before his assassination, composer Hollenbeck, who is also a McGill professor, created three different sound worlds, built around a balance between improvisation and written score.
The sermon itself is a convincing example of Martin Luther King’s oratorical genius. Using a passage from the Bible, he built an entire narrative around the principle of the Drum Major Instinct, which can be summed up as each person’s desire to lead the parade, to be better than others, or even superior. He deploys this discourse effectively thanks to his remarkable oratorical ability to build tension and evolving emotion that leads to an effective and meaningful paroxysm. MLK opens the perspective to the issues of the time and of his struggles, namely a condemnation of the Vietnam War and racial inequalities (the Drum Major Instinct of white people leads them to believe they are superior). Aesthetically speaking, it’s a hell of a success. Hollenbeck wrote his three versions on this basis, and they are performed one after the other. So we hear the same speech three times, with different musical accompaniments, as if to show just how adaptable it can be in every conceivable way. On this subject, I would point out that, with all due respect for MLK’s immense verbal skills, listening to the same religious preach, albeit with a strong political, humanistic and philosophical bent, becomes tiresome. Those who don’t like the religious proselytizing that lurks behind the dramatically intense chanting of “Jesus!!!!” will end up being very irritated. Warning.
Musically, though, Hollenbeck’s (you can find his Bandcamp page here) approach is fascinating and highly stimulating. The first iteration, for trombones and drums in the dark, attempts to create an atmosphere of conflict and opposition. The three brass instruments make abstract declamations using improvised dots and dashes of sound, what I call pointraitism (Points and Traits, or lines), typical of avant-garde art music. It’s not jazz, then, but contemporary music informed by jazz, as inflections here and there hint at the universe from which the subject comes, that of Black reality in the 1960s. The drums (Hollenbeck himself) accompany this sequence in a very discreet, restrained way.
The second version is the opposite. Gone are the trombones and drums, welcome are accordion, electric guitar, vibraphone, marimba and piano (Hollenbeck again). The light returns to a gentle, almost ethereal world. The effect is remarkable: MLK’s speech, heard a second time, takes on a different personality. The humanist tendencies are more noticeable, and the lyrics are more audible! It sounds like something between ambient minimalism and Feldmanian etherism (Morton Feldman, the great unclassifiable composer of the 20th century). Very fine work by the accordionist and guitarist, who let delicate and sustained notes percolate through the framework.
The third version calls everyone on stage, in a kind of syncretic ecumenism between the power of the trombones and the gentleness of the other instruments. This time, however, the three brass instruments are less abstract, and more singing, with more obvious reminiscences of jazz and even blues. The final minutes resemble a marching band parade that finally dissolves into a kind of funeral march. Luther King had only two months to live.
Warm applause for the excellent musicians on stage: Ed Neumeister, Kalun Leung, Felix Del Tredici, trombone; Gentiane Michaud-Gagnon, accordion; Oliver Tremblay-Noël, marimba/vibraphone; Roman Munoz Bueno, electric guitar; John Hollenbeck, drumkit and piano.
The end result is impressive and thought-provoking because the Drum Major Instinct evoked by MLK has not disappeared from the world – quite the contrary. While I found Hollenbeck’s writing a joy to behold, I do wonder about the hierarchy that eventually permeates the whole thing. The threefold repetition of MLK’s speech (over and above the caveat mentioned earlier in connection with the religious preacher’s mute), to which the music is subservient, means that the Drum Major Instinct evoked by MLK is ultimately monopolized by the text, to the detriment of the score. Instead, the score takes on the role of a soundtrack, commenting a little, but without being able to fulfill its much greater potential. Clearly, I would have liked not to hear the sermon a third time (at least), and to let the music transcend, even sublimate, MLK’s words. That is the immense power of music, which words, even from one of the greatest orators in history, cannot match, or at least not in the same way. I would have loved to have been able to delve into myself, to cogitate on the meaning and depth of MLK’s speech through music alone. I think that would have been even more effective than hearing the recording over and over again. At a certain point, it ends up sounding like the worst kind of religious sermonizing: forcing things into our heads through incessant and deeply tiresome repetition.
Please don’t misunderstand me: John Hollenbeck’s The Drum Major Instinct: Three Settings of MLK Jr’s Last Sermon is a superior work, perhaps an authentic masterpiece. But it’s his music that takes MLK’s text into new realms of meaning, beyond even what the speaker could have foreseen. Not the other way around. So it is only my sincere wish that this work be put forward more equitably, in recognition of its great musical quality.
For the full programming of theSchulich School of Music, click HERE!
Schulich School of Music | Spotlight on Women Composers at McGill
by Frédéric Cardin
Last Saturday evening, January 13, in McGill University’s Pollack Hall, we were treated to an evening of music under the banner of femininity or even feminism. But far beyond these simplistic categories, it was first and foremost an evening of great music, performed by top-flight artists, professors and students, testifying once again to the very high quality of this music school, one of the best in America.
The programme included, in reverse chronological order, Amy Beach’s Piano Trio in A minor, Op. 150 (1938), Cécile Chaminade’s Piano Trio No. 1 in G minor, Op. 11 (1881) and Fanny Mendelssohn’s Piano Trio in D minor, Op. 11 (1847). A broad overview of the female compositional act, not only in temporal terms but also geographically (one American, one French and one German) and stylistically.
Amy Beach displays a treasure trove of colours and textures in her Trio, which is solidly structured in a classical manner, but bears witness to a romantic temperament and shows stylistic inclinations that are not only impressionistic but also, in the final movement, a stimulating Allegro con brio, discreet but notable nods to jazz and American folklore. All this was rendered with force and conviction by the artists, Violaine Melançon on violin, Joshua Morris on cello and Kyoko Hashimoto on piano.
Unlike Beach’s Trio, a mature work (in fact the composer’s last piece of chamber music), Cécile Chaminade’s Trio is an early work, her very first for chamber ensemble. In the young Chaminade (she was 24), there is a great deal of light, with very limpid phrasing and fine lines. Very French music, in short. There are passages both delicate and virtuosic that Fauré would have been proud to have written. Elsewhere, it is Schumann who would have appreciated the melodic turns. Even if the sound space created by the trio as a whole was a little denser and fleshier than one would expect in this kind of music, one must still note the impeccable technique of each artist and the attentive listening of each to the others. Kyoko Hashimoto’s piano playing was particularly scintillating.
Finally, the concert ended with Fanny Mendelssohn’s eminently romantic Trio, again a mature work by the composer (even though she was still young, she was to die shortly afterwards). Nothing to envy to bro Félix, or any other male of the era. Filled with engaging melodies and affects that are both highly personal and finely controlled, this is a genuine masterpiece of German Romanticism. The performance by McGill’s representatives was worthy of an evening that ended with brilliance and, above all, immense satisfaction.
In 2024, we now have the great good fortune to enjoy this kind of musical gem more and more regularly, for too long overshadowed by the bad faith and stupid prejudices of a male patriarchy jealous of its prerogatives and self-proclaimed and granted privileges. So much worse for those fools who have never been able to recognize the immense value of this music in the past (but too bad for the women who have suffered as a result…). Justice is finally starting to be done, not just for music, but especially for us music lovers!
For the complete events calendar at the Schulich School of Music, click HERE!
Bugs Bunny at the Symphony | The Timeless Humour of Bugs Bunny
by Elena Mandolini
When you think of Bugs Bunny and the Looney Tunes, the first thing that comes to mind is rarely the music. The theme tune, perhaps, but more often than not the soundtrack that accompanies the cartoons that have accompanied the childhoods of many generations. However, once you get the hang of it, you’ll soon realize that classical music is at the forefront of many a cartoon. That’s what this concert, Bugs Bunny at the Symphony, is all about. Not only are excerpts from operas, ballets and classical symphonies present in the soundtrack of these cartoons, but the original score skilfully arranges these excerpts to suit the images, without distorting the source material.
Bugs Bunny at the Symphony thus unfolds in the format of a ciné-concert. The Orchestre FILMharmonique, who perform the score for the Montreal version of this concert, are specialists in this genre and demonstrate their expertise in the field. The interpretation is flawless, with impeccable precision and exemplary dynamism. The orchestra is satisfactorily amplified. The only drawback: the click track used to synchronize sound and image is clearly audible during moments of silence.
On a large screen dominating the stage at Salle Wilfrid-Pelletier, several cartoons scroll past, to the delight of all. We rediscover the best-known cartoons featuring Bugs Bunny, of course, but also Wile E. Coyote, Road Runner, Elmer Fudd, and all our other favourite characters. A little surprise: new cartoons, created especially for this concert, are also presented. The excellent FILMharmonic Orchestra is conducted by George Daugherty, the creator of this concert. Throughout the evening, he shares anecdotes about the creation of Bugs Bunny and the music featured in it.
Throughout the evening, the audience is entertained, and many an exclamation is heard when melodies or characters are recognized. This is a very well-crafted concert, with beautifully performed music that will charm young and old alike.
Bugs Bunny at the Symphony, a local production by GFN Productions, with the Orchestre FILMharmonique and George Daugherty. Two more performances on Sunday, January 14, at 2pm and 7pm. TICKETS AND INFO HERE!
Crédit Photo credit: Martin Bélanger, courtesy of Warner Bros. Discovery
Hervé Niquet Conducts the OSM | Recognizing the Divine in Music
by Rédaction PAN M 360
A rare work with a perfect performance, Hector Berlioz’s L’enfance du Christ was warmly received by the Maison symphonique audience on Tuesday evening. The last concert of the year, the holiday season ends in triumph for the OSM.
A story is in order for this concert. Two years ago, the OSM programmed Hector Berlioz’s L’enfance du Christ with Hervé Niquet as conductor. Some people jumped at the chance to see a work so rare and unique that they bought tickets for the whole immediate family. Unfortunately, fate had other plans, and the second closure of the concert halls during the holiday season of 2021 was bitterly resented.
We had to wait two years to finally see this concert, and the wait was totally justified. A tantalizing freshness emanates from the score, and the music, though evocative, is measured and balanced by a master’s hand. There’s never a cliché, on the contrary, and you’re immediately gripped by the beauty and power of the lyrics and accompaniment.
The work tells the story of the exodus of the Holy Family after the birth of Jesus, following King Herod’s decree to kill all newborn babies. The first part, “Herod’s Dream”, is the most remarkable, with an intense, dedicated performance by Robert Gleadow as Herod. One senses the conflict of emotions tipping over into madness and the heaviness of the actions with, notably, the support of the pizzicato of the double basses. The other parts, recounting the flight to Egypt and the arrival in Sais, are charming in their own way, with the strong presence of almost orientalist themes in the second, and touching passages in the third. Cyrille Dubois, the tenor in charge of the narrator, stands out from the rest, and his magnificent voice, so clear and frank, moved the audience time and again. The ensemble of soloists was solid and virtuosic.
The orchestra was excellent, with a relatively small but effective line-up. The energetic woodwinds interacted with the sizeable string section, which took up most of the stage. Hervé Niquet conducted with fluidity and suave energy tinged with a deep respect for the work. Of particular note was the remarkable work of the flutes and harp during the Trio embedded in the work just before the epilogue. Backstage was occupied by a quality chorus, directed by Andrew Megill, which was always on time and crystal clear, both for the female and male voices. The final “Amen” was transcendently delicate. The performance of the work was marked by a gentleness and control that left a lasting impression on the audience, who applauded warmly for four, even five rounds.
The staging was simple yet evocative. The lighting, which shifted from cold blue to suggest night, to soft green to evoke the clearing, and to blinding reddish to illustrate the desert and the sun, was commendable. The soloists’ acting was uneven, but much appreciated, especially for Herod.
There’s only one feeling that lingers in the mind of the concertgoer, and that is the regret of not having been able to offer this magical experience to more people. L’enfance du Christ is an extraordinary work that deserves to be performed more often. We couldn’t have hoped for a better performance, and we’re moved and uplifted by the beauty of the music.
Soloists :
A narrator : Cyrille Dubois
Marie: Julie Boulianne
Joseph: Gordon Bintner
Herod: Robert Gleadow
A father: Tomislav Lavoie
Polydorus: Geoffroy Salvas
A centurion: Joé Lampron-Dandonneau
For more information on upcoming concerts, visit the OSM concert page HERE.
The return of the immutable: Meshuggah, In Flames, Voïvod and Whitechapel
by Laurent Bellemare
The least we can say is that there was excitement in the air. It had been more than six years since Meshuggah stopped in Quebec – eight for the Montreal region! Time has worked in the group’s favour, which is unequivocally at the peak of its popularity. We are far from the time when the quintet had to be content with a well-filled Club Soda. Last Saturday, a packed stadium awaited the masters of rhythmic phase shifting. It must be said that a nice lineup of big names from the metal scene was also on the program to drum up interest in the event. Regardless, this evening was nothing less than a successful gathering, a mega heavy music event that will leave its mark on people’s minds for years to come.
Whitechapel
Whitechapel… here is a band that has changed a lot since its beginnings at the head of the very brutal deathcore movement of the 2010s. In the past, death metal influences were always clearly audible under a hardcore coating peppered with exuberant breakdowns. In the immensity of Place Bell, we had the impression of witnessing the performance of a completely different group. Whitechapel only had 25 minutes to leave their mark, and it is clear that the group did very little to showcase their musical evolution. None of the six pieces played made use of Phil Bozeman’s singing voice, a major novelty on the last two records. Conversely, there were very few quick moments taking us back to the era of the first three albums.
So there remained grooves on top of grooves, which gave a good average of the group’s current sound without revealing its more dynamic colors. We can also dispute the presence of three guitarists, at least two of whom always play the same thing. Is it purely for the sake of raw sound power? The bass was, apart from a tremor in the background, essentially inaudible. In the end, none of this bothered the audience, who were very enthusiastic about the muscular performance of the American group.
Voïvod
True to four decades of innovative eccentricities, Voïvod was in many ways the anomaly of the place. The cult group from Jonquière was only scheduled for this one and last date of the tour, obviously a favored invitation from the headliner. The quartet immediately took us back, with a more old-school thrash metal, even punk, energy. Having released a compilation of covers in the summer, Voïvod offered us a succession of classics, going through the highlights of his discography. We were even treated to the famous metallic version of Astronomy Domine’ by Pink Floyd. Two pieces from recent albums still testified to the creative vitality of the group, which does not seem to be dying out. The resilience of the group must be applauded. He not only knew how to reinvent himself through tragic losses and personnel changes, but he also remained at the pinnacle of experimentation in his respective genre. Drummer Michel Langevin and singer Denis Bélanger, both in their early sixties, still behave like tireless stage performers. Seniority aside, it was without compromise and with impressive vitality that Voïvod put on a show in front of a crowd that did justice to his legacy. We will only regret a mediocre sound system for the bassist, practically inaudible.
In Flames
Having practically invented the melodic counterpart of Swedish metal, In Flames are another band to have gone through their share of stylistic changes. Since the 2000s, the group has evolved towards a more accessible sound, multiplying choruses expressing vulnerability and controversial albums. Foregone, newly released this year, however, demonstrates a desire to synthesize this evolution through a certain return to the sources. Like this new album, In Flames offered a powerful and flawless performance, like a group in full possession of its means.
Through its new pieces, In Flames punctuated the evening with pieces taken from top-rated albums. The band even went back to 1994 to play a rarity from debut album Lunar Strain! There were also hits from the Reroute to Remain (2002) and Come Clarity (2006) eras, the choruses of which were sung excitedly by the crowd. All in all, the selection was judicious and evoked as much nostalgia as the freshness of a new musical direction.
We must salute the charisma of singer Anders Fridén, whose particular technique seemed in great shape, as did his sense of humor. The playing of the instrumentalists was on point and the sound was there, which will not have displeased the fans who came especially for In Flames.
Meshuggah
The opening notes of Broken Cog immediately set the tone for the next hour and a half: rumbling, oppressive nine-string guitars and powerful, enigmatic drumming. All this paired with spectacular, precisely pre-programmed strobe lights. The visual aspect is therefore of capital importance for the performance, because the musicians barely need to move on stage to give off a captivating aura.
With an impeccable sound system and very little interaction with the public, Meshuggah played classics and pieces from the new album Immutable. Some highlights of the concert stood out, bringing the audience out of a certain psychedelic torpor. That’s what happened when all the lights went out and the track ‘Mind’s Mirrors’ from Catch 33 (2005) came on. The sparse, atonal guitar whirs and vocoder narration created a terrifying weightlessness. This was followed by the interpretation of the complementary pieces In Death – Is Life and In Death – Is Death, following the chronological logic of the same album. This twenty-minute segment, like the rare ‘Humiliative’ from the EP None (1994), was a real gift for fans of the group. Note that for each title, or even each musical section, a specific lighting design energized the sensory experience.
At the end of this masterful performance, Meshuggah chose to end the evening in style by playing ‘Bleed’, an instant classic, and Demiurge, whose final breakdown energy is as contagious as it is devastating. We couldn’t have asked for a better reminder. Once again, the Swedish group stood out for the originality of its art and its strength of execution. The time has now come to wait for the next album and tour cycle, when Meshuggah will emerge from the long creative dormancy to which the entity has accustomed us.
Pique Winter Edition: Ottawa Arts and Music Festival of Discovery
by Rédaction PAN M 360
Housed in a four, and sometimes five-story building (there is impossible space) in the heart of Ottawa’s Art’s Court, Pique is a multidisciplinary, quarterly arts and music festival that is unlike any other festival we have attended. It’s a bit chaotic with multiple shows happening at once throughout the night on different floors, but the night is intended to be a moment of pure discovery. Happy-go-lucky hip hop in one room, gorgeous indie bedroom pop with a political message in the next. An arts market that spans multiple rooms and floors? Forget about it. Pique is the kind of event you get when you have a collective of artists who aren’t afraid to dream big, each with their whacky idea that somehow all works. With programming from 5 p.m. to the early hours of the morning, we were busy at this year’s Pique, and are anxious for the next iteration. Below are a few performances that stuck out.
Nycky Ghost & J Chinnasz – Something Out of Nothing
The first set I caught at this quarter’s Pique fest was a hip-hop set from Ottawa-based J Chinnasz, supported by his producer Nycky Ghost. Lighthearted and showing off some serious confidence, Chinnasz strutted his stuff on stage as he walked us through his wordy, boisterous bars. He’s articulate, letting us catch every word of his happy-go-lucky lyricism that nestled so effortlessly amongst Ghost’s luscious, 90s hip-hop and R&B-inspired instrumentation. The highlight of the set was when Chinnasz brought up collaborator CHILD onstage for a few songs (including one on his own).
The two complement each other nicely. CHILD’s darker, more emotionally rooted rap style (think Earl Sweatshirt) perfectly counters the bouncier, more juvenile tone of Chinnasz, who fits in amongst the new wave of young rappers who aren’t afraid to get a little silly with it (think BBNO$). Together, along with some serious competence on display behind the booth at the hands of Nycky Ghost, these rappers brought a quiet room to life—starting chants, getting the people moving, and evidently, having a great time doing it. (Lyle Hendriks)
Naïka Champaïgne – Stripped down soul funk with a lotta heart
The funky and captivating jams of Naïka Champaïgne were the perfect dose of feel-good vibes for the gradual come-down at Pique on Saturday. With a voice that recalls the gravitas of greats like Nina Simone, and guitar chops that made me think of Nile Rodgers with a nylon string and a hint of Big Mama Thornton, Naïka Champaïgne had us all under her spell. The general message of peace, love, and being genuinely good to strangers was in the air and Naïka’s atmosphere was one full of gratitude. At times it felt like a show in a quiet coffee house, others an outdoor show off some tropical beach. She flexed her finger-picking guitar skills with prowess and at times, almost started rapping, dropping a few quick bars with some blue-eyed neo soul. It makes sense as she is one half of the hip hop/beat-making Montreal duo, Strange Froots. (Stephan Boissonneault)
Osita – Selfish Self-Expression
Perhaps it was the psychedelic, glitchy visuals projected across fifty feet of wall. Maybe it was the energy of a room full of Ottawa partygoers happy to be inside on a cold winter’s eve. Maybe I was just looking for a DJ to really get me moving. Whatever the case, the unbridled passion of Osita and his eclectic mix of dance, house, hip-hop, and techno was an absolute highlight of my Saturday night at Pique. Osita describes himself as selfish when it comes to his work as a DJ, producer, and purveyor of taste. And while the word might conjure some negative associations, the reality is that Osita is all about self-expression and the music that makes him happy. If you’ve ever heard a DJ who was obviously pandering to the crowd, you understand how important a strong personal style is—and Osita delivered his in spades, grooving and moving to each track with a huge smile on his face. With hundreds of people to bounce off of, I felt Osita’s set like a warm come-up emanating through the room and coursing through my very being. His transitions were seamless, and his hard-hitting selection of tracks maintained a steady electric vibe sitting right around 128 BPM. (Lyle Hendriks)
poolblood – Barebones and Beautiful
Standing in stark contrast to the high-energy, lighthearted offerings of some of the evening’s other acts, poolblood brought a sombre energy to their Pique set that can only be described as devastatingly beautiful. Barebones and minimalistic, the trio created an impossibly rich array of sound out of so little. Group leader Maryam Said has an absolutely show-stopping voice and yet chooses only to lean on it in the most essential of moments. Breathy, intimate, and profoundly vulnerable, their lyrics soared beautifully across the little auditorium—tales of heartbreak, longing, and missing friends that haven’t been friends in a while.
The simple guitar was elevated by artfully placed piano lines, held down by a steady bass to provide a foundation for Said to build upon. With music as stunning and evocative as poolblood’s, it would be easy to let it carry us away in a bedroom-folk haze. But rather than granting us an escape, Said used their literal spotlight to call attention to a vital cause, performing in front of a massive projection depicting nothing but a cracked bit of pavement and the word “CEASEFIRE.” Mark my words, poolblood will be going places, and I think that it won’t be long before small, intimate shows like this one are but a distant memory for the promising Toronto artist. (Lyle Hendriks)
RegularFantasy – Disco Vocal House for the Wee Hours
It’s difficult to fathom just how long RegularFantasy played for during Pique, but it was at least two hours, or maybe three. Either way, the room was electric and everyone in the crowd seemed to be on a healthy dose of something, perhaps the “?” edible bag going around, and filled to the brim with sweat and gleeful euphoria. With multiple sets of dreamy vocal house music and a few remixes of Britney Spears, RegularFantasy commanded the Club Saw stage. The crowd demanded more and RegularFantasy (real name Olivia) was happy to deliver, spinning some futuristic house under a heavy glow of vibey visuals and colour-coded lights. RegularFantasy looks like a pro on the stage, having a calm and cool demeanour through the whole set as if she’s been DJing since she could walk. (Stephan Boissonneault)
OSM | Powerfully enigmatic Turangalîla-Symphonie
by Elena Mandolini
On December 5 and 6, the OSM, conducted by Rafael Payare, presents the Turangalîla-Symphonie, a powerful and enigmatic work by French composer Olivier Messiaen. It’s impossible to remain indifferent before this monumental and striking work. The OSM has done it justice, giving new dimensions to all the orchestra’s instruments. Payare, for his part, lived up to his reputation: he led the orchestra remarkably well, with energy and great musicality.
Turangalîla-Symphonie is a surprising and unique work. The title is a juxtaposition of two Sanskrit words, meaning respectively (and with a few shortcuts…) movement and cosmic love. This symphony, divided into ten movements, is based on the exposition of four themes: the statue, love, the flower and chords. Throughout the work, these four themes are developed and varied. The score features a large number of percussion and keyboard instruments, so the Symphony House stage was packed. The entire back section of the stage was given over to an imposing percussion installation. Upstage, two keyboards, the glockenspiel and the piano (Jean-Yves Thibaudet) rubbed shoulders with a little-known and seldom-seen instrument: the ondes Martenot (Cécile Lartigau). This latter instrument is sometimes discreet when played in the company of the whole orchestra, but certain movements, akin to chamber music, let us distinctly hear this instrument with its multiple sound possibilities. The piano score, for its part very demanding, and is magnificently interpreted.
Musically, the Turangalîla-Symphonie is a constant interplay of textures and superimposed melodic lines, at times verging on atonality. It is a complex work, at times anxious-sounding and very often majestic. The statue theme, for example, is composed of low chords supported by brass. There are several changes of tempo, very well executed by the orchestra. We admire the orchestra’s precision during the unison moments and note the full power of the OSM during the frequent fortissimo passages, which leave us stunned. These intense nuances are followed by highly successful transitions between the different movements, with a clean break or a perfectly controlled decrescendo.
For several reasons, it’s impossible to remain indifferent when listening to the Turangalîla-Symphonie. Firstly, because it allows us to hear instruments and combinations rarely seen elsewhere, and secondly, because the power and vivacity of the OSM reaches a new peak here. The inclusion of this work in this season’s program is to be warmly welcomed.
Festival Vibrations | Ensemble de Musique du Monde’s South American Journey
by Elena Mandolini
The Vibrations Festival is in full swing at the Université de Montréal’s Faculty of Music. Several concerts are offered to the public, covering a wide range of musical styles, and sharing the stage with UdeM students and professors.
On November 30, a concert by the newly-formed Ensemble de musique du monde took place at Salle Serge-Garant. The ensemble’s director, Juliàn Gutiérrez, was delighted to see the creation of such an ensemble at the University, as it demonstrates a real interest in music from all over the world. The evening’s repertoire was devoted to Latin American music and dance but also included a few arrangements of well-known songs in other languages, translated into Spanish.
The mood was festive, and the intimate format of the concert gave us the feeling that we were all invited. The repertoire performed is fairly standard, but the students put a lot of energy and musicality into it. The percussionists carry and support the pieces, and the rest of the rhythm section is impeccably precise. The uncluttered instrumental section of trombone, trumpet, tenor and soprano saxophones is equally precise and unique. Each instrumentalist also delivers solid solos, both rhythmic and lyrical. However, the sound is poorly calibrated, making it rather difficult to hear this quartet’s accompaniments clearly.
Each work features a vocal part accompanied by beautiful harmonies. Throughout the evening, the conductor is also a singer, resulting in rich three-part harmonies. Here too, the voices are sometimes a little buried by the accompaniment.
The audience is often invited to join in the festivities. Simple melodic lines are sung in question-and-answer mode, but above all, there’s a lot of dancing. The evening ends with a very pleasant I Will Survive translated into Spanish and transcribed in bachata style, giving a new dimension to Gloria Gaynor’s famous song. The evening once again demonstrated the great talent of Montreal’s up-and-coming musical talent.
The Vibrations Festival continues until December 2. Many events are free! INFO AND TICKETS HERE!
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