From 19 to 22 June 2025, the Montréal Baroque Festival takes over Old Montreal (and a bit of the Quartier des Spectacles) to immerse music lovers and all the curious in memorable experiences. Music at sunrise, free baroque jams in a late-night café, the Four Seasons with a twist, links between good music and fine wines (all by women producers), grand concerts, intimate concerts, parades, costumes, dances, all this and more is on the menu. I talk it all over with the festival’s friendly Co-Artistic Director and co-General Manager, Vincent Lauzer.

DETAILS AND TICKETS FOR THE MONTREAL BAROQUE FESTIVAL

Connaisseur Ticaso, one of Montreal’s most eloquent northeastern MCs, is highly respected by fans of French-language Quebec rap. Once an authentic bad boy, he’s no longer one for pragmatic reasons, but remains the same free-thinking street artist. Representative of the Afro-descendant movement in the Saint-Michel, Pie-IX and Montreal North neighborhoods, Ticaso has been leading a second artistic life since the beginning of this decade, reaping the rewards of his longevity by commanding respect for his eloquence and the singularity of his rap. A rap that he doesn’t define as keb, but rather as “Franco-American” – which has nothing to do with the term that once defined French-speaking Quebecers who emigrated to the USA at the end of the 19th century. A must-see and must-listen event this Saturday, June 14, 7pm, on the Spotify stage.

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If you’re a fan or hyper-fan of Francophone expression in song, rock, soul, R&B, hip-hop, pop or hyperpop, check out this interview with Camille Guitton, one of the three Francos de Montréal program managers alongside Mathieu Rousseau and Maurin Auxémery. Ahead of the Francos, Alain Brunet asked her the essential questions for a good overview of the 2025 program.

WATCH THE INTERVIEW!

ALL THE PROGRAMMING HERE

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On June 14, the only Classica 2025 Festival concert on the island of Montreal: Carl Orff’s Carmina Burana. It takes place at Saint-Jean-Baptiste church (DETAILS AND TICKETS HERE). Always a crowd favorite, this imposing choral piece will be performed in a version for two pianos and percussion, but of course with a muscular choir, that of the Société philharmonique du Nouveau Monde, some 150 singers. No large orchestra, but new colors and textures that shed new light on the texts. With soloists Alexandre Sylvestre, Ania Hejnar and Jeffrey Carl, Orff’s inexhaustible oeuvre will certainly resound with power. I spoke to artistic director Michel Brousseau.

Known for his emo-rap and rock anthems, GreenWoodz recently unveiled Malgré la tempête, his second career album, marking an assertive transition to folk-pop tinged with both new country and rap. A successful gamble for the 25-year-old artist, who shines for the authenticity of his lyrics, the sincerity of his approach and the coherence of his project.

Whether on 20e avenue, where he tackles consumerism, or on Désolé pour ça, which deals with a difficult break-up in love, Tommy Boisvert presents himself as a veritable open book. People recognize themselves in the ups and downs of his life; the storm GreenWoodz speaks of is a reality common to many, no doubt what makes his music so accessible. Listening to his songs is a bit like catching up with an old friend who’s playing his latest creations around a campfire.

One thing is certain: the art of the chorus is one of the most precious tools of the native of Mandeville, a small village in the Lanaudière region. The formula is simple but effective, giving life to catchy, guitar-driven tracks like Hôtel Saint-Charles.

Vocally, the 7th Heaven artist is more composed and melodic than usual. This acquired maturity blends perfectly with his delicate, minimalist productions. “I chose to listen to myself and make the music I wanted to make,” he says.

At the Francos on Friday, June 13, GreenWoodz will perform Malgré la tempête for the very first time at Studio TD. To purchase tickets:

A few days after the album’s release, Pan M 360 chatted about his creative process, his artistic change, his influences and much more.

PAN M 360: Just over a week ago, you released Malgré la tempête, your second career album. How are you feeling at the moment?

GREENWOODZ: I’m pleasantly surprised by the good public reaction to the album, especially as I’ve undertaken a change of direction with this project. It’s more folk and pop than what I was doing before. It’s great to see that people are coming out in droves. Right now, I’m cranked up to start putting on my show and defending my new album on stage. I love working and making music, so I’ll be working on my next project very soon.

PAN M 360: Tell me about where you come from and the origins of your passion for music.

GREENWOODZ: I come from Mandeville, a small village in the Lanaudière region. I’ve always been drawn to music. When I was young, I took dance lessons. Let’s just say I wasn’t very good!

I started listening to music at a very young age. As a teenager, music was a good escape for me. One thing led to another and I discovered rap, then emo-rap. I quickly identified with it. That’s when I started creating and releasing different projects.

PAN M 360: Judging by your lyrics, you seem to have had a busy and eventful past. Is this true?

GREENWOODZ: I wouldn’t presume to say that I’ve lived a difficult life, but let’s just say that I’ve made some rather atypical life choices. I often say that I feel like I’ve already lived several lives. I’ve been in so many different environments in my life. I think that comes across in my songs; it allows people who have lived that kind of reality to connect with my music.

PAN M 360: Are the experiences you describe in your songs something from the past or do they reflect your everyday life?

GREENWOODZ: Heavy drinking, like when I was young, left my life a while ago. I’ve always had depressive tendencies, and it’s something that still follows me. It’s something I struggle with every day. I’d say yes and no: what I say in my music still follows me.

PAN M 360: What does Malgré la tempête, the title of your new project, mean?

GREENWOODZ: Malgré la tempête, it means that the storm is kind of permanent in life. I realized that in life, you never fall into a zone where it’s absolute happiness and everything’s fine. Malgré la tempête, it’s about accepting the things you can’t change and focusing on the things you can.

PAN M 360: You spoke earlier of a change of direction for this second album. How would you describe the sound of Malgré la tempête? Is this your sound for the future?

GREENWOODZ: It’s very hybrid; it’s got rap, folk, country, rock and pop. My aim was to find my own sound. With this album, I decided that from now on, I would listen to myself and make the music I wanted to make. I decided to stop appealing to a narrative where I’m supposed to make a certain style of music. 20th Avenue is a track that helped define the direction of the album.

PAN M 360: Would you say your inspiration for this second album has changed?

GREENWOODZ: My inspirations have changed, that’s for sure. During the creation of TPL, I was greatly influenced by the punk-rock, grunge and emo-rap scene. For Malgré la tempête, I reconnected with the Quebec folk scene that’s been playing at home all my life. I’m talking about Les Cowboys Fringants, Les Colocs, Plume Latraverse and even Bernard Adamus. I’ve also immersed myself in the American new country and modern folk scene, with the likes of Morgan Wallen, Zach Bryan, Shaboozey, Noah Kahan and others.

PAN M 360: This was the second time you’d gone through the process of creating an album. What was the biggest difference between the conception of Malgré la tempête and TPL? Also, what was the best part of this recent creation?

GREENWOODZ: TPL was the first album I’d released, so I certainly wasn’t used to working professionally at the time. Malgré la tempête was much simpler to make; it’s an album that came together on its own. The best part of the process was when my team and I rented a cottage in Charlevoix. That’s where we put together the vast majority of the project. We stayed there for a week; it was a defining week for this opus.

PAN M 360: The song Crash is one of the most authentic tracks on your latest project. Tell me the story behind the creation of this track.

GREENWOODZ: During the creation of Malgré la tempête, I was in a relationship. I hadn’t been in a relationship since my first love, and that was four years ago. Crash was the realization of all the patterns my former relationship had left behind and how they affected my daily life. It helped me understand how it could be damaging and what I needed to work on in the future.

PAN M 360: At several points in the album, you can hear sound extracts from parties and dialogues between friends. Why was it important for you to fill your album with these kinds of samples?

GREENWOODZ: In the last year, I’ve reconnected a lot with the village where I grew up. Before that, I was in a bit of a whirlwind through my relationships and music. I had drifted away from the people who had been by my side in the early days. Since the album deals a lot with this theme, I thought it would be interesting to include little nods to my friends in the project. I got them from videos I’d sent to my producer of parties with my boys.

PAN M 360: As part of the Francos, this Friday, June 13, you’ll be launching your album at Studio TD. What can we expect from this evening?

GREENWOODZ: The style of Malgré la tempête is different from my previous projects, but my show will keep the same energy as before. It’s a more folk, pop and mellow album, but it’s going to be a mean party as well. It’s going to be my biggest show ever, and I’ve got a big guest list for the occasion. I can already tell you there’ll be rappers Rymz and Shreez.

Photo Credit: Disques 7ième Ciel

With the Francos and the festival season approaching, Tire le coyote gives this video interview to Alain Brunet for PAN M 360. In it, he talks about the material for his two new albums: Dynastie, released in October 2024, and Ventouse, a folkier, more engaged album in light of the explosive situation the world is currently experiencing. This has earned Benoît Pinette (real name) threats from far-right trolls. We’re talking about sound, words and commitment. Tire le coyote and his band will perform at Le Gesù, Thursday June 19, 7pm.

AT THE FRANCOS ON JUNE 19, GESÙ, TICKETS AND INFO HERE

WATCH THE VIDEO INTERVIEW :

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Mathieu Constance is a fixture at Multicolore, which runs Piknic Électronik, and at Courage, which builds the program. Each month of Summer 2025, he shares his musts and impressions of recent Piknic achievements. Follow the pro!

PAN M 360: How did you experience the first few weeks of Piknic 2025?

Mathieu Constance: It’s been a bit of an unusual start to the season for us, at least since I started working at Multicolore. We’ve had rain and weather more like Igloofest than Piknic over the past few weeks… Despite all that, we’ve had some great premieres with Enrico, Marlon Hoffstadt and STRYV!

PAN M 360: What do you think were the highlights of May and June 1st?

Mathieu Constance: Boys Noize – Marlon Hoffstadt – Sally C – Bambii

PAN M 360: Can you identify and briefly describe your Piknic must-haves for the next 4 weekends, until June 30? One or two a week, please.

Mathieu Constance: 5 hours and a half of curation and showcase by DJ Tennis with Life & Death this Sunday. Not to be missed! The super-anticipated premieres of Mochakk and Black Coffee too (BC was our 2nd fastest sell-out in festival history!). Special mention to a St-Jean Baptiste special, more than a party with the first headliner Nico de Andrea, and the Laylit collective who will set fire to our new B stage.Voilà!

This Sunday, at Théâtre de La Ville de Longueuil, soprano Marianne Lambert will present her new production, Mers intérieures.

Through a series of pieces and accompanied by immersive processed images, the concert explores different facets of perinatal mourning.

PAN M 360: The concert is entitled Mers intérieures. What do these “internal seas” mean to you?

Marianne Lambert: The internal seas symbolize my stages of healing in the perinatal mourning process. Water is a central element in this story, as it gives birth, nourishes, but can also destroy. Yet it also has the power to cleanse, heal and purify.

PAN M 360: This concert features works by Debussy, Wolf, Górecki, Ayotte, Ravel, Mahler and Weill. How did you choose these works, and what guided you in this selection?

Marianne Lambert: First of all, the Górecki was done when we did excerpts with the Orchestre symphonique de Drummondville. Despite my love for the piece, it’s difficult to transpose to piano and cello.

As for the choice of pieces, I based myself mainly on the poetry, and surprisingly, by changing the perspective, several pieces suited the subject. In fact, I had the opposite problem, which was to make heartbreaking choices.

PAN M 360: The piece Reste, which you commissioned from composer Maggie Ayotte, deals with perinatal bereavement, a subject that is still very much unexplored in our society. Can you tell us about the process that led to the creation of this work?

Marianne Lambert: I was looking for a composer who would be able to transpose the difficult stage of leaving my child’s little body. It was after listening to the piece Entre la veille et le sommeil by Maggie Ayotte, played by the formidable Duo Fortin-Poirier, that I immediately fell in love with her writing and her sensitivity. In life, there is no adon. When I contacted her, she was about to give birth to twins. Despite this, she couldn’t refuse my order. Her maternal color is an asset for this concert.

PAN M 360: In the treatment of perinatal bereavement, do you think the arts, particularly music, have any particular potential?

Marianne Lambert: Absolutely! We know that the arts in all their forms are an important medium for experiencing emotions, reflecting and healing. We don’t talk enough about perinatal bereavement, despite the fact that many families go through it. I sincerely believe that this concert will be a way of resonating together and breaking the solitude.

PAN M 360: The concert also includes a multimedia component. How did this visual dimension develop, and how does it interact with the music?

Marianne Lambert: Last September, we spent 4 days shooting, including one night underwater. No pun intended, but I wanted the audience to dive into my world and forget the space of time. The magnificent images were treated with the genius of Isabeau Proulx-Lemire and Emmanuel Grangé. They have transposed my story into metaphor with poetry and great humanity. The visual will play a major role. So much so that at certain moments, me and the musicians (Janie Caron on piano and Chloé Dominguez on cello) will be the plot. For me, this was the best way to leave a greater impact through gentleness and kindness.

This Sunday, at the Centre multifonctionnel de Saint-Lambert, the play La chèvre de Monsieur Séguin (Mr. Seguin’s goat) will be presented, halfway between opera and theater. Patrick Mathieu, who wrote the libretto and music, offers his vision of an opera for young audiences. With lucidity and a touch of irony, he shows us that the eyes of a child do not make judgments, other than the constructions acquired by the society around them.

PAN M 360: Why did you decide to adapt Mr. Seguin’s Goat as an opera-theater for children?

Patrick Mathieu: It depends where the emphasis lies in your question… Why this story? Why an opera? Or why for children? Why an opera? The obvious answer is that I’m a musician. The only reason I sign the texts for most of our productions is that writing an opera libretto requires musical skills that very few writers possess.

Why an opera for children? The first thing to point out is that it’s adults, not children, who have prejudices against opera, most of which are completely unfounded. Basically, an opera is a Disney film: a story and tunes, or the opposite. A Disney film is an opera where the story takes precedence over the music. Now, I can well understand that someone who’s never been exposed to “classical” music and/or theater can be quite bewildered when they attend their first grand opera, especially if they understand nothing of what’s being told. That’s a shame. For them. They’ve been deprived of something fantastic, and that in itself seems more than enough reason not to do the same to your own children.

Now, is it essential to love opera? What’s essential is eating, having a roof over your head and being healthy… not opera, a TV series or a field hockey game. What is vital, however, is that children discover the pleasure of a culture that is not just entertainment, that they learn to think differently, for themselves. A culture-free, self-referential society brings Trump to power. Well, there are also hyper-educated and cultured societies that supported Hitler, but that’s another debate.

PAN M 360: The ending of the original story is rather tragic. How did you manage to adapt this dark ending for a young audience?

Patrick Mathieu: Daudet’s tale is very short, and there’s a certain amount of adaptation and invention, including characters and far-fetched episodes, that’s necessary, otherwise the show would have lasted 5 minutes! However, everything in the original text is present in our version, including the ending. Now, is this ending tragic? What’s always interested me about this fable is that it’s amoral. It describes life, not an American movie. The wolf eats the goat because that’s what wolves do. If he doesn’t eat the goat, he starves. For me, the central point of the tale isn’t the goat’s death, it’s the fact that she resists the wolf all night, knowing that she won’t escape. It’s the heroism of the human condition: doing the best we can, knowing that it never ends well. So yes, the story is deeply tragic, but it’s a philosophical tragedy.

That said, it’s only the end of the show that’s dramatic, and the whole “art” consists in leading the audience from comedy to drama. Children love drama as much as the next person, on the obvious condition that its representation respects their sensibilities. It’s the old artistic principle: it’s not so much what’s said that matters as how it’s said. What’s certain is that after hundreds of performances, if we’d done a realistic ending, there’d be a serious shortage of sopranos and the prisons would be full of obese baritones.

PAN M 360: You’ve just returned from Brazil and Mexico, where you presented this piece. How did these foreign audiences influence your perception of the work?

Patrick Mathieu: We’ve been back a long time!

I don’t know to what extent a foreign audience – indeed, any audience – can influence my perception of a work, whether it’s mine or not. As a director selling tickets and shows, perhaps, but certainly not as a musician.

Is the show perceived differently by foreign audiences? As far as the form of the show is concerned, no. What changes in the particular case of La chèvre is the way in which the children express their feelings about the tragedy. It obviously depends on each child, but in general, it seems to me that it’s much more a question of social class than country. There’s more difference between a child from Outremont and one from Montreal North than between a Mexican or Brazilian child from the same social class and one from Quebec. The only notable cultural difference is the visceral, physical reaction to music of the people who dance. This is true in Latin America, and would be equally true in Africa. Francophones and Anglophones are the only cultures where audiences are incapable of clapping their hands to the beat of a pop song!

PAN M 360: The work is aimed at young people aged 4 to 12. How do you manage to engage these different age groups?

Patrick Mathieu: The process doesn’t seem any different to me than when I compose “for adults”. I write what I want to hear, which doesn’t yet exist. The only difference with operas for young audiences is that I write what I would have liked to hear as a child. Obviously, I didn’t know this when I was a child. Like everyone else, I imagined I’d end up at the Forum, not in music! Maybe I would have realized it sooner.

I think the charm of the show, which perhaps also explains its success, is that the adults have done a serious job of remembering what it’s like to be a child.

The only way to engage a children’s audience is to give them a good show. If they like it, you’ll know it just as much as if they don’t!

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There’s a link between agriculture and culture that needs to be re-established in an age when this intrinsic link in traditional societies has long since been severed. On Montreal’s South Shore, artists and farmers have set their sights on restoring this link in a post-modern way, and even turning it into a way of life. Virtuoso violinist Emmanuel Vukovich and his farmer partners from the Cadet Roussel farm are at the helm of the project’s artistic pole, creating a program of concerts presented on the farm, in a hall perfectly equipped to carry out this initiative. In the midst of a socio-financing campaign, the Festival Concerts de Saint-Grégoire unfolds for the first time this summer, following the presentation of numerous “agri-cultural” events. Here, Emmanuel Vukovich explains the program and recounts this holistic adventure.

PAN M 360: Who are the artists involved in this concert series?

Emmanuel Vukovich: The first season of Festival Concerts de Saint-Grégoire brings together a remarkable group of artists from Quebec, Canada and around the world, chosen not only for their artistic excellence, but also for the consistency of their approach with the festival’s fundamental themes of land, community and cultural dialogue.

Tambuco – This world-renowned Mexican percussion ensemble, four-time Grammy Award nominees and featured on the James Bond Spectre soundtrack, will perform as part of our Latin American intercultural exchange festival. Their presence pays tribute to the profound cultural contributions of Latin American farm workers in Quebec, while offering a sonically rich and globally relevant artistic voice.

Gabriela Ortiz – Mexican composer and Grammy Award winner in 2024, Ortiz represents a powerful contemporary voice in Latin American music. Her chamber works bring urgency and depth to the intercultural dialogue at the heart of the festival’s August program.

Chloé Sainte-Marie – Celebrated Quebec singer, actress and activist, Sainte-Marie brings a powerful presence to the festival thanks to her longstanding dedication to aboriginal and rural communities. Her voice embodies the emotional and social dimensions of the festival’s core mission.

Layale Chaker – Lebanese-American violinist and composer, Ms. Chaker’s work blends classical traditions with Middle Eastern improvisation. Her participation testifies to the festival’s openness to transcultural expression and diasporic perspectives.

Kinan Azmeh – A Syrian-American clarinetist known as a soloist, composer and improviser, M Azmeh’s fascinating fusion of multiple musical traditions reflects the spirit of creative dialogue that the festival seeks to nurture.

Aldo Mazza – Montreal-based Cuban-Italian percussionist and founder of KoSA Music, Mr. Mazza brings decades of experience in linking music, education and social justice, and his participation reflects the festival’s commitment to musical excellence rooted in civic engagement.

Dominic Desautels is one of Canada’s most sought-after wind instrumentalists, with a flourishing career as soloist, chamber musician, orchestral clarinetist and teacher.

Jean-Philippe Sylvestre – In 2008, Jean-Philippe Sylvestre received the prestigious Virginia Parker Award, the highest distinction awarded by the Canada Council for the Arts.

Chef John Winter Russell – Founder and owner of Montreal’s renowned Candide restaurant .

Chef Mariana Martin – Founder of Alma Restaurant and Carlotta Bakery, Ms. Martin reinforces the festival’s integration of agriculture, culture and hospitality as interconnected expressions of community care.

Parcival Project Ensemble – This collective (which I direct), forms the artistic heart of the festival. The world premiere of Parzival & Feirefiz – a new Grail tale for diversity, in collaboration with Tambuco, illustrates the festival’s mission to foster renewal and reconciliation through the arts.

Together, these artists embody the values of the Festival Concerts de Saint-Grégoire: artistic excellence, cultural inclusion, environmental awareness and the conviction that music can be a living bridge between people, places and traditions.

PAN M: Where did the inspiration for “Agri-Culture” come from?

Emmanuel Vukovich: The inspiration for this project stems from a lifelong quest to reconcile apparent contrasts, to build bridges between worlds that are often considered disconnected. At the heart of this project lies a personal and artistic quest: to bring together music and agriculture, science and art, humanity and nature. Like Bach, Goethe and Bartók, artists who saw scientific research and artistic creation as equally vital, I believe that the creative act is most powerful when it draws on multiple ways of thinking and being.

Agri-Culture: Concerts de Saint-Grégoire is a response to an age marked by divides – between individuals, between communities, and between humans and the land. It is founded on the conviction that music and agriculture, like body and mind, support different but equally essential parts of our humanity. As Shakespeare wrote, “if music be the food of love, play on”; this hidden link between artistic and agricultural nourishment is at the heart of the festival’s vision.

Located on the Cadet Roussel Farm, a pioneer in organic and biodynamic agriculture, at the foot of Mont-Saint-Grégoire, the festival cultivates deep ties between the artistic and the agricultural, in resonance with the rhythms of the earth. Rooted in traditions of agri-cultural excellence, Agri-Culture is a space of renewal and reconciliation where music, land and people unite to build resilient communities. It is also a catalyst for local economic vitality and global ecological awareness, offering a new way of engaging with the land and with each other through creativity, hospitality and shared presence.

PAN M 360: Where does your commitment to the Cadet-Roussel farm and its “Agri-Culture” approach come from?

Emmanuel Vukovich: My connection with Ferme Cadet Roussel goes back over twenty years. I first came to the farm in 2004, when I was studying music and environmental and agricultural studies at McGill University. What began as a formative summer working on the farm quickly turned into a long-standing friendship and collaboration with Anne Roussel and Arnaud Mayet, the farm’s co-founders. Over the years, we’ve adopted a common vision: the artistic and agricultural spheres – often considered unrelated – can in fact complement and reinforce each other.

The idea of integrating concerts into farm activities matured over time and crystallized during the pandemic. When all cultural gatherings were halted and musical spaces closed, farms like Cadet Roussel continued to function as essential services.It was then that the idea of a festival – a living dialogue between art and the land – really took root.

Drawing on my experiences at New York’s Churchtown Dairy Farm (a Rockefeller family project) and my involvement in co-directing Symphony in the Barn in Ontario, I was inspired to imagine a festival where world-class music could take place not in an isolated setting, but to the rhythm of the earth’s cycles. Located at the foot of Mont-Saint-Grégoire, Ferme Cadet Roussel – with its pioneering biodynamic practices – offered the ideal setting.

Les Concerts de Saint-Grégoire is not just about giving concerts in a rural setting, it’s about cultivating the deep, often hidden interconnection between cultural and ecological life. The project invites audiences toengage simultaneously with music and the land, and aims to foster an international artistic community that is both rooted in this place and aware of its ecological and social responsibility on a global scale.

In an age of increasing polarization, where social media filters have fractured our sense of shared space and purpose, this festival aspires to be a bridge. Through music, agriculture and hospitality, we hope to create an inclusive and socially engaged space for dialogue – a space that reconnects people not only to each other, but also to the earth that nourishes us all.

PAN M 360: What is your business model in line with your community’s values?

Emmanuel Vukovich: The Concerts de Saint-Grégoire business model is rooted in the same principles that guide the ecological and community-based approach of Ferme Cadet Russel, the farm that hosts the festival. This pioneering biodynamic farm operates on the Community Supported Agriculture (CSA) model: members commit to supporting the farm throughout the production season, and in return receive a weekly share of fresh organic produce as needed.

Rather than functioning as a classic commercial transaction between producer and consumer, this model creates a relationship of shared responsibility: the community helps support the farm, and the farm, in turn, nourishes the community, not only with food, but also with a sense of belonging, continuity and care for the land.

Les Concerts de Saint-Grégoire applies this same philosophy to the arts. Rather than offering isolated, one-off cultural events, the festival is conceived as a seasonal experience that develops in harmony with the farm’s agricultural rhythms. It integrates music and public gatherings throughout the year, creating opportunities for the community to come together, just as it does to celebrate spring planting or the great autumn vegetable harvest.

In this sense, the festival is not an external addition to the farm, but a natural extension of its mission, transforming the cultural experience into something participatory and locally rooted. By offering concerts, culinary evenings and cross-cultural events that reflect the values of cooperation, sustainability and mutual aid, the festival becomes another way for people to connect, not only to the land, but also to each other.

Ultimately, the model reflects a broader vision of cultural sustainability, where artistic life is nurtured and supported in the same way as ecological agriculture: through long-term relationships, shared purpose and a deep respect for the living systems – human and natural – that sustain us.

PAN M 360: What is your concert production history?

Emmanuel Vukovich: Between 2001 and 2003, I was co-artistic director of Symphony in the Barn, an international summer music festival held at Glencolton Farms, a biodynamic dairy farm in Ontario , where I also had the privilege of conducting the festival orchestra as concertmaster, under the artistic direction ofErnst Dunshirn, director of theVienna Philharmonic Orchestra and the Vienna Opera Choir.

Between 2007 and 2009, while living and working at the Cadet Roussel farm, I produced a series of solo violin recitals at several community farms in Quebec, Ontario and New York State. In collaboration with a Radio Canada producer, I recorded and produced a documentary video of these concerts entitled Bach à la ferme, which was revived during the pandemic for the Canada Council’s CBC Digital Originals series. In 2019, the Grande Salle Agri-Culturelle de la Ferme Cadet Roussel was officially inaugurated with a concert performed by beneficiaries of the Canada Council Instrument Bank.

Between 2017-21, I was invited to perform and provide artistic direction for a Bach Odyssey at Montreal’s Chapelle Historique du Bon Pasteur, and I rehearsed Bach ‘s complete cycle of Sonatas and Partitas for solo violin at St Andrew & St Paul Church during the pandemic (2020-21 season).

The Parcival Project gave its first concerts in 2011 and was registered as a non-profit organization in 2012, receiving charitable status in 2017 after an international concert tour of Chile, Argentina and Brazil in 2014.

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PAN M 360: You’ve built a hall. What are the characteristics of this hall? Capacity, etc.?

Emmanuel Vukovich: The Grande Salle Agri-Culturelle de la Ferme Cadet Roussel is the former barn loft where hay was traditionally stored for the cows during the winter, and was officially inaugurated as a concert hall in August 2019 and renovated during the pandemic with wood from trees grown and cut on the farm.This is a locally crafted concert hall, and the acoustics of the space are testament to this unique quality, seating around 80-100 spectators. Insulated, heated and air-conditioned, the space houses a permanent Boston-Steinway grand piano .

PAN M 360: What prompted you to present a full season of Concerts de Saint-Grégoire?

Emmanuel Vukovich: The decision to present a full season of Concerts de Saint-Grégoire grew out of a desire to align music with the natural rhythms of the land. Rather than concentrating activity around a single weekend or concert date, we wanted to create a living cultural calendar that followed the seasonal flow of an agrarian year – reflecting the cycles of planting, growing and harvesting at the heart of farm life.

This vision is deeply inspired by the traditional agricultural festivals that have marked rural communities for centuries: the celebration of sowing in spring, haymaking in early summer and bountiful harvests in autumn. In today’s fast-paced and often fragmented world, I believe that revisiting and honoring these timeless patterns through music can offer a meaningful way to reconnect with the seasons, the land and each other.

By presenting concerts throughout the year, each resonating with a particular period of the agricultural cycle, we invite the public to enjoy a more rooted, place-based cultural experience. It’s an opportunity to gather not only around artistic creation, but also around the rhythms that sustain life: growth, change, renewal.

In so doing, the Concerts de Saint-Grégoire become more than a series of performances; they become a seasonal dialogue between music, land and community, a way of bringing people together in celebration, reflection and shared presence throughout the year. This continuous rhythm also allows for greater integration into the daily life of the farm and more inclusive programming, in collaboration with local and international artists.

Ultimately, presenting a full season is a way of grounding the festival in continuity and living connection – qualities we believe are essential not only for cultural vitality, but also for building more resilient and caring communities.

PAN M 360: What is your artistic direction?

Emmanuel Vukovich: Artistic excellence, intercultural exchange and the promotion of the ecology of the art form. I’ve been very interested in the legacy of researchintooral traditions left by Béla Bartók, which links ethnomusicology, ecology and the exploration of musical timbre in the practice of performing and composing new music.

The artistic direction of Les Concerts de Saint-Grégoire is guided by three fundamental principles: artistic excellence, intercultural exchange and collaboration, and a deep commitment to advancing the ecology of the art form itself. For me, artistic excellence is not simply a matter of virtuosity or reputation, but of depth of expression, sonic honesty and the music’s ability to resonate authentically with a specific time, place and community. I seek to select artists and programs that carry this sense of integrity – performers whose work derives from both mastery and meaning.

A commitment to intercultural collaboration is also at the heart of my vision: I believe that music, in all its power, exists in dialogue and innovation – between traditions and other cultures.That’s why the festival invites artists from all disciplines and cultural backgrounds to come together and co-create something new, often through collaboration and exchange. These encounters not only enrich the artistic offering, but also reflect a broader social commitment: to model the kind of respectful, dynamic engagement we hope to see in the world.

The third axis of my artistic direction is a growing interest in musical ecology – both literal and metaphorical – and in the advancement of the art form of classical music. Inspired by Béla Bartók ‘s research into oral traditions and ethnomusicology, I am fascinated by the way in which music can reflect and interact with its environment.Bartók’s research into the folk and peasant melodies of Eastern Europe, Turkey and North Africa provides us today with a model of how music can be both rooted in tradition and offer new possibilities for the future.

In the same way that ecological agriculture works in relation to the living system of life, I see musical and artistic collaboration and leadership as a living system – one that thrives on diversity, care and regeneration.

Through Les Concerts de Saint-Grégoire, I hope to cultivate an international artistic community and culture where these values converge: where world-class performances develop in harmony with the local context; where intercultural exchange is not just a gesture, but a process; and where the ecology of music – as a cultural, emotional and communal force – is nurtured over time.

PAN M 360: What are your plans for the future?

Emmanuel Vukovich: My plans for the future are rooted in a long-term commitment to making a significant contribution to the continuation and evolution of classical music, not only as a performer or curator, but also as someone deeply involved in shaping the cultural ecosystems that support it.

I believe that classical music has enduring relevance, but its survival and vitality depend on our ability to honor its traditions while continually expanding and defining its relevance. My goal is to create artistic experiences that are both rooted in the legacies of the past and open to the realities and urgencies of the present. This includes rethinking how and where classical music is shared, to whom it is addressed, and how it might evolve in dialogue with other musical and artistic traditions, other cultures, other disciplines and other ways of life.

For the future, I intend to make Les Concerts de Saint-Grégoire a living laboratory for artistic innovation – a place where performers, composers and audiences engage with classical music by being immersed in nature, shaped by community and attuned to the rhythms of the earth.This vision goes beyond the concert hall; I’m particularly inspired by the idea that music is a form of ecological listening, a way of deepening our awareness not only of sound, but also of our place in the world.

In this sense, my future work will continue to explore how music can reflect the links between human life, the natural world and the cosmos. I’m interested in projects that integrate environmental awareness, scientific intuition and spiritual inquiry – each informing the way we compose, perform and experience music. Whether it’s interdisciplinary collaborations, new commissions or site-specific performances, I see it as a path to an art form that is not only preserved, but continually renewed.

Ultimately, my aim is to participate in a future where classical music remains a vital force – alive, evolving and in deep resonance with the beauty and wisdom of the human imagination and the natural world that sustains it.

PAN M 360: Who is the team working with you on this project?

Ferme Cadet Roussel
Le Projet Parcival

Latitude 45 Arts

Ensembl’Arts

La Ruche

Donna Williams
Noémie Raymond

Boulangerie Carlota

Restaurant Candide

Montreal Museum of Fine Art
Consulate du Mexique à Montréal

PAN M 360: How do you manage to finance a concert season?

Emmanuel Vukovich: While our long-term goal is to build a funding model inspired by the cooperative approach to ecological farming practiced at Ferme Cadet Roussel, our first season is currently funded by a more traditional structure. This includes a mix of public arts funding, private donations and targeted project grants that support artists’ fees, production costs and essential infrastructure.

The cornerstone of this year’s financing is our participatory fundraising campaign on La Ruche, supported by a matching grant from the Quebec Ministry of Tourism’s Horizons d’ici program. Every dollar contributed by the public is matched, but only if we reach our goal of $61,876 by June 15, 2025. This campaign is not just a financial tool; it reflects the spirit of shared responsibility and grassroots participation that we hope will define the future of the festival.

Ultimately, we envision a model that mirrors the Community Supported Agriculture (CSA) system used by Ferme Cadet Roussel, where members commit to supporting the entire growing season and, in return, are fed throughout the year.
Similarly, we aim to develop a sustainable cultural ecosystem supported by a community of listeners, partners and creators. But to achieve this, we must first lay the foundations.

Right now, reaching our crowdfunding goal is essential to making this inaugural season possible. It’s an invitation to become co-creators of the project right from the start, helping us sow the seeds of a festival rooted in the rhythms of the earth, the power of music and the strength of collective commitment.

PAN M 360: What is your socio-financing goal with La Ruche?
Emmanuel Vukovich: The crowdfunding campaign between May 15 and June 15, 2025, organized by the Quebec crowdfunding platform La Ruche with a matching grant from the Quebec Ministry of Tourism – Fonds Horizons d’ici. A minimum of $61,876 must be raised before June 15 for the matching funds to be awarded.We invite all those wishing to support the project to make a donation and purchase tickets for our festival before June 15!

RUCHE FUND RAISING HERE

CONCERTS TICKETS HERE

ABOUT CADET ROUSSEL FARM HERE

Domesicle is nightlife’s greatest hits. Completely immersed in 360 visuals, this 5 hour extravagant lineup is not one to be missed and will kick off the long awaited domesicle series. After a couple cold weeks, this is the heat wave we’ve all been waiting for. Without mentioning Mutek which is a pillar of Montreal’s electronic music scene, this night also features one of Vancouver’s most prolific event organizer; Normie Corp who came up during the COVID-19 lockdown.

Similary to other online event organizers like Club Quarantine who made the best of a bad situation, Normie Corp draws an audience that can’t help but have fun. To get an idea of just how wild it would get I reached out to fagofcolour and HNZ who have just landed in Montreal. Despite the long flight, the duo behind Normie Corp this Friday generously answered questions about organizing events, keeping a vibe going and handling social media fame.

PAN M 360: How does it feel to be in Montreal?

HNZ: We were in Montreal last year for Mutek as attendees and we were so inspired by all the artists, the organizers, and the festival itself. Coming back to 30 degree and sunny weather makes us really excited to experience this vibrant city some more.

PAN M 360: Lockdown seems so far away. Did you ever have the feeling, while you were organizing online events, that it would take you this far?

fagofcolour: To be honest, no. Sometimes I feel like I’m dreaming. Like, we flew out to Montreal for this super cool gig and someone is interviewing us?

HNZ: We couldn’t have gotten this far without the support of people along the way who have shared their skills and who have believed in our work from the beginning

PAN M 360: What’s the short story behind why you started Normie Corp?

HNZ: Normie Corporation was founded in 2020 amidst a lockdown period of a global pandemic. We were born because we missed dancing with our friends. Using tools that were readily available, we threw online parties and safely brought the community together when we were required to be apart.
fagofcolour: Since inception, we have proudly showcased the tastes and talents of performers who are 2-spirit, queer and/or trans, Black, Indigenous, and people of colour, as well as women.
PAN M 360: Between the music, the lights, the fashion, the themes, and the overall ambiance — what is it that makes the Normie Corp events stand out?
fagofcolour: Since the beginning, Normie Corp has showcased performers of different skill and taste levels, and we are incredibly lucky to have garnered an audience that can dance to any genre we throw at them. There’s a common understanding that it’s a place where people come and be themselves and just dance!

HNZ: The community. A lot of our shows include people coming to show support for their friends, many of which are performing for the first time ever.
PAN M 360: Beyond the simple numbers of followers and tickets, how does your fanbase influence and shape the events you make?
HNZ: We’re always inspired by how the energy that our attendees bring. This can either be from their cute outfits, their raunchy comments on our posts, or them tagging us in up and coming artists and trends. For example, we noticed a hot lesbian couple making out at the front of one of our raves and thought, “why don’t we harness this sexiness and create a sapphic rave?” Thus was born We-Haul.
PAN M 360: How has your use of Instagram and social media evolved over time?

HNZ: In some ways, it doesn’t feel like our strategy has changed. However, on paper, I guess technically we’ve been posting more? It seems like events have been more competitive and asserting your presence and even just reminding the audience that something is happening (over and over) is necessary.

Do you ever take time away from social media?

fagofcolour: To be honest, no. It is difficult to take breaks from social media, especially if we have upcoming shows. Outside of “club promoting” in real life, social media remains our main point of contact with our audience.

HNZ: I’m never on social media, I’d rather be fishing

PAN M 360: fagofcolor, you’ve been reposting wild Baile Funk edits on SoundCloud recently. Is this hinting at what we might be hearing Friday?

fagofcolour: Wow, thank you for looking through my SoundCloud..! I believe that no genres are off-limits as long as the audience is dancing.

PAN M 360: HNZ, with a fast tempo and pitch-up samples, your DJ sets have a high energy that gives a sense of craze. I’m curious — what kind of music do you listen to on a daily basis that gives you this feeling?

HNZ: As a Mexican DJ, I am always inspired by latin club music and culture. But on a daily basis, I listen to Shakira and Nelly Furtado because I have their CDs in my car.
PAN M 360: For both fagofcolor and HNZ: Once the music is on and the party is going, what is your main focus on the decks?
fagofcolour: To have fun and to make sure everyone else is having fun.
HNZ: Connecting with the audience and keeping the energy up

PAN M 360: What would your motivational speech sound like for someone procrastinating on buying their tickets for this weekend?

HNZ: It’s June. The sun is here and Domesicle is back at SAT, an iconic venue in this lively city. 4 DJs, a live act, and 360 visuals are ready to keep you on your feet all evening as we dance the night away. Why are you stalling? The weather? Energy? These excuses are holding you back from the time of your life. You need this, and you’ve earned it. See you this Friday at the Dome (Satosphere).

TICKETS & INFOS HERE

At PAN M 360, we actually talk with Kiva Stimac, artistic director and co-founder of Suoni Per Il Popolo, 25 years ago during the month of June. And now we’re celebrating this 25th year edition with a lot of joy and gratitude, because it remains a rich event, year after year. Kiva, her team and a whole community of local /international artists have contributed to this 25th anniversary schedule that is going to run until June 30th. So, Kiva, congratulations for those 25 years of labor, of love. Approaching the heavy traffic, let’s get on this schedule with plenty of Kiva’s recommendations.

PAN M 360: First, congrats for this huge accomplishment!

Kiva Stimac: Yes, thank you. That’s very appreciated.

PAN M 360: And we suppose you wanted to celebrate this 25th year your way, because you’ve been the main artistic director for a few years. You’re carrying on your shoulders this great event, and this time I suppose there are some special inputs!

Kiva Stimac: Yes and no. I also see this as really a community effort. Part of what I do is that I bring together all the people who’ve come through the Casa, the Sala, the Suoni over the years. It’s really been an artistic community development, not just here in Montreal, we talk about a global community as well of experimenters and tricksters and people trying to rabble-rouse and shake things up, so I don’t see it as just me doing this on my own. It wouldn’t be possible without the popolo !

PAN M 360: Yeah, of course, It’s community labor, but you’re at the top of this little pyramid. You collaborate with a large community. Well, it’s kind of a small international network, but it is still an international network. You built that over the years, and now this international community is there, and also there’s the local one. So, how did you build this edition ?

Kiva Stimac: I think I really tried to bring in all the voices that have been present over the years, and new voices that are emerging as well, because every year, a new generation of folks come through, and having those young voices and the elder voices and even the children doing their recital is very important to me. Last year, one of the kids at the children’s recital played the piano with her head. So, that there’s 10 year olds excited for this is just as important as Malcolm Goldstein played recently, and he’s almost 90! So, I just love that that whole intergenerational community comes together.

PAN M 360: I totally agree with you, Kiva! We share those same values at PAN M 360. If you just avoid the elderly, and also if you avoid the youngest, it’s not a good idea for a deep music listening experience. In your case, you don’t avoid anyone and it works!

Kiva Stimac: Well, I’m very hopeful it works this year, but every year I get nervous right before the festival that nobody will come.

PAN M 360: So, let’s try to pinpoint over this month some of the main elements of your program.

Kiva Stimac: Well, I definitely looked to do things in the venues that we started in, but also outside and in the streets. I didn’t get one grant for a big outdoor project, but there are several outdoor projects that are happening this year. One of them is going to be on Saturday 14th in Parc La Fontaine at the rebuilt Théâtre de Verdure. And we’re going to have an all-star lineup of Sam Shalabi Septet, which is a great new project with multiple voices, and really looks at Sam’s solo work through a bigger lens. And Black Ox Orchestra, and Erika Angell and Matana Roberts. So, for Sony, that represents a big swath of our, the creative spirit of our festival, and it’s great for everyone to come and see.

And then another show that we’re going to have that’s outside is called the Pony Show, and it’s going to happen in Parc Lahaie on June 20th, which is the little park in front of the church right at the corner of Saint-Laurent and Saint-Joseph. And it’s going to involve a pantomime horse race. So, you know, when two people get in a horse costume, and then there’s going to be a race around the park. And then there’ll be bands: Hélène Barbier, Scooter J and Psychic Armor. It’ll be more in the Pop Rock world, very accessible and fun. Yes, I’m really looking forward to that one too.

And then one of the other outdoor things we’re going to have is called the Funeral March for the Disappeared Venues. So, we’re going to meet at Jeanne-Mance Park, and with a group of musicians and activists, we’re going to walk through the neighborhood at different stops, playing music, celebrating, and stopping where missing venues around the neighborhood have been, and end up at Produit Rien, a little gallery in Mile X, where there’ll be a sound installation by a Palestinian artist and two local artists called Screaming Out Walls, and then an exhibit of photography called Six Tits in a Twelve Pack. All free !

PAN M 360: So, it’s a big involvement from your organization because you have to finance it without public money.

Kiva Stimac: Yeah we didn’t get the grant for this whole project, so the community has really come together around this project and that we all actually are doing it together. So, I think that’s important to point out in this time of public funding being scarce and wanted by so many that sometimes we’re going back to our DIY roots. Everything is just a black and white photocopy, no more fancy programs. Scaling back so that the music itself and the art itself can be the main feature.

PAN M 360: Then art never dies because of that. If we don’t adapt to harder areas, we die. And we need the creativity and the arts to move forward in these hard times, for sure.

Kiva Stimac: Exactly.

PAN M 360: Now, if we go to your traditional venues, Sala, Casa, Sotterenea, etc.. Full of programs full of artists !

Kiva Stimac: Yes, I’ve tried really hard this year in the curation of the events in one night so that there’s not so much of an overlap of genres necessarily, but that you could walk into each venue and your mind could be blown and it would be something interesting, but they wouldn’t be in competition with each other necessarily. So, there is a groove that flows through all of this music, for sure, that I see, but at the same time, it’s coming from very different places as all of us humans have very different experiences and express our creativity in many different ways. And it’s that beauty of the experimentation and the thoughtfulness that each of these artists brings to their work and the challenge that they bring through their creativity that is very important for this festival.

PAN M 360: Now, we got to pinpoint some very interesting events. I know those are all your babies in a way, it’s hard to select the main ones, but let’s try.

Kiva Stimac: Well, on June 19th, we’re having a first night at Casa, which is our smallest venue: Watch That Ends The Night Records présent Quinton Barnes + Jason Doell & Naomi McCarroll-Butler + Liam Cole + Alex ‘Bad Baby’ Lukashevsky. That is a new record label out of Kingston, it is putting on Quentin Barnes’ new ensemble, which is merging hip-hop and free jazz and electronic music, and it’s a showcase for the whole record label, so there’ll be a bunch of other people there. So, that’s a night for sure to come to. And on the same evening, we’re presenting Cabaret Noir, which was a big theater production that went on at Théâtre de Quat’Sous, except we’re getting the music from that show.

So, the show was a huge success and really looks at the swath of the Black experience from Quebec, from North America.

PAN M 360: You are very excited with this June 21st program: Lesbians on Ecstasy + Rough Spells + HRT

Kiva Stimac: That is practically sold out already! Lesbians on Ecstasy are coming out of their retirement in the past 10 years. They were a very important band in the early 2000s and that night is going to be fantastic. They will be joined by Rough Spells from Toronto, which is a queer metal band, and HRT, which is one of my favorite bands from Montreal that really looks through the queer lens and brings a very strong presence to the dance floor.

PAN M 360: There has always been avant-garde improvised music and free jazz. Which is still important at the Suoni this year.

Kiva Stimac: Yes, on June 22nd, we have a fully stacked Canadian jazz night with François Houle’s The Secret Lives of Colour. That includes Gerry Hemingway, Myra Melford, Joelle Léandre, Gordon Grdina, a whole cast of characters who are interpreting François Houle’s piece, The Secret Lives of Colour, and they’re going to be joined by Brass Knuckle Sandwich, which is a duet of two virtuoso players, Nicole Rampersaud and Marilyn Lerner. And this other set is going to be the first opening act that night : Open Thread, which is Peggy Lee‘s quartet with a whole bunch of people. So it’s going to be a packed night!

And that same night, Meztizx is coming, which is a band based out of Amsterdam now, and they play definitely more Latin-influenced jazz electronica. So it’s going to be a very chill night we can all sway to – Mestizx + Mas Aya + Stefan Christoff & Daniela Solís.

PAN M 360: You’re also doing a live soundtrack , that’s at Sala Rosa on the 24th.

Kiva Stimac: The silent movie is called A Page of Madness. It’s a Japanese silent movie from the 1920s. And this Anju Singh’s project, The Nausea,is the live score to that. So it’s going to be very intense and beautiful -the program is called The Nausea: A Page of Madness + Ritual Purification

PAN M 360: Hotel2Tango is also involved in this great schedule:

Kiva Stimac : Over the 23rd and 24th, there’s a live session of sets you can sit in that are being recorded. It’s going to be all the individual players doing solo sets that’s going to be recorded. So it’s a live recording with an audience with this band from Lebanon that we’re bringing, who’s playing the Sala Rosa on the 21st as a full band called Sanam. That’s a new band on Constellation Records, and they’re going to be playing with Radwan Ghazi Moumneh. On the 23rd and 24th, that’s going to be also a very beautiful night, two nights as well.

And then Bobby Sanchez and Big Sissy are playing at la Sotterenea on the 24th. Bobby Sanchez is a hip-hop rapper, queer, trans, indigenous from New York City. And Big Sissy is a local icon here, drag performer and singer-songwriter. So that’s going to be an amazing night as well, very political.

Also on the 24th, Farida Amadou is coming from Belgium, who’s my favorite electronic bassist in the world right now. She is unbelievable, and that we get the chance to see her now when she’s starting is very special.

PAN M 360: Okay, so let’s keep on the new proposals. So there are other excellent programs to present.

Kiva Stimac: Yes. Our final, well, our final big night is on the 28th, the Saturday, where we’re having a whole bunch of different acts on the same night. Michigan Wolf Eyes and Pulitzer Prize-winner indigenous artist Raven Chacon, just an amazing genius all around, are coming to play in all the different worlds of rock and experimentation. And so what they’re going to come together and do, I have no idea, but I’m sure it will be mind-blowing.

PAN M 360: Suoni were supposed to present them last year and with the great Anthony Braxton. And there was some mortality in the family of Wolf Eyes and the program has been postponed. And now Wolf eyes are coming back, but not with Mr. Braxton.

Kiva Stimac: No. Mr. Braxton, I don’t think we’ll be playing music live anymore. He’s reached a certain age where it’s probably just not going to happen. But that’s not for me to make public, you know.

Cartel Madras is also coming that same night, who’s a hip-hop sister duo from out west, Alberta. And they’re bringing Indian Giver from Toronto, which is a metal Indigenous band. That night is going to be sick.

The whole building that night will be throbbing with such good energy. And then across the street at the Casa, it’s a whole cast of characters who are Constellation Records adjacent T. Gowdy + Steve Bates & Elizabeth Anka Vajagic + Mat Ball & Ky Brooks + Nennen. So that will be a beautiful post-rock, post-classical night.

And then our final big night is actually on the 30th, on Monday, in a church, Église Sacré-Coeur-de-Jésus. And it’s going to be an organ show, so ambient organ. And the whole church will be vibing.It’s going to be a very beautiful, slow, sweet end to the festival. There is also organ playing in a group called Beast. And she’ll be accompanied by someone on a hurdy-gurdy, which is a stringed bowed instrument with a wheel that makes a very droney, beautiful sound.

PAN M 360: Cool ! So, we have a better idea of what’s going on this month at the Suoni Per Il Popolo. Thank you so much for this presentation which is a (big) fragment of the whole 25th Edition schedule!

Kiva Stimac: Well, it’s a pleasure !

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