Le renommé pianiste Daniil Trifonov sera de retour à la Maison symphonique pour interpréter le Concerto de Schumann, une œuvre au caractère poétique et enflammé que le compositeur destinait à son épouse Clara. C’est également à une femme, Harriet Smithson, dont Berlioz était éperdument épris, qu’est dédiée la Symphonie fantastique. Avec une prodigieuse puissance expressive et une inspiration intarissable, le musicien confie à l’orchestre ses tourments ainsi que ses espoirs amoureux.
Renowned pianist Daniil Trifonov returns to the Maison symphonique to perform Schumann’s Concerto, a poetic, fiery work that the composer dedicated to his wife Clara. The Symphonie fantastique is also dedicated to a woman, Harriet Smithson, with whom Berlioz was madly in love. With prodigious expressive power and inexhaustible inspiration, the musician entrusts the orchestra with his torments as well as his hopes for love.
Véritable invitation au voyage et au rêve, ce programme évoque l’Espagne sensuelle de Bizet – incarnée par Carmen –, et celle, plus onirique, du célèbre Concerto d’Aranjuez de Rodrigo, interprété par Miloš, l’un de s plus talentueux guitaristes actuels. Mel Bonis, contemporaine de Ravel, rend hommage aux héroïnes mythologiques en dépeignant Salomé avec sensibilité, dans une esthétique orientaliste.
A veritable invitation to travel and dream, this program evokes the sensual Spain of Bizet – embodied by Carmen – and the more dreamlike Spain of Rodrigo’s famous Aranjuez Concerto, performed by Miloš, one of today’s most talented guitarists. Mel Bonis, a contemporary of Ravel, pays tribute to mythological heroines with her sensitive, orientalist portrayal of Salomé.
Les œuvres du compositeur et oudiste Joseph Tawadros se nourrissent aux sources des musiques traditionnelles égyptiennes et de la musique occidentale. Avec l’ensemble Obiora, Tawadros vous conduira à travers des paysages musicaux chatoyants, parfois surprenants, toujours enivrants! Après une incursion dans l’Espagne d’Albéniz, ce périple prendra fin en Italie avec la fougueuse œuvre de Tchaïkovski, Souvenir de Florence dirigée par Rafael Payare.
The works of composer and oud player Joseph Tawadros draw their inspiration from traditional Egyptian and Western music. With the Obiora ensemble, Tawadros will lead you through shimmering musical landscapes, sometimes surprising, always intoxicating! After an incursion into the Spain of Albéniz, this journey will end in Italy with Tchaikovsky’s spirited Souvenir de Florence conducted by Rafael Payare.
Les traditions musicales dialoguent dans ce concert original réunissant l’OSM et l’ensemble Constantinople. Représentée à travers l’imagination et la sensibilité de compositeurs européens, la Méditerranée est au cœur de ce programme, notamment avec le Cinquième Concerto pour piano de Saint-Saëns, évocation stylisée de l’Égypte. Quant à Cantemir, un compositeur moldave du 18e siècle, sa musique d’inspiration ottomane est une véritable révélation!
Musical traditions meet in dialogue in this original concert featuring the OSM and the Constantinople Ensemble. Represented through the imagination and sensibility of European composers, the Mediterranean is at the heart of this program, notably with Saint-Saëns’ Fifth Piano Concerto, a stylized evocation of Egypt. As for Cantemir, an 18th-century Moldavian composer, his Ottoman-inspired music is a real revelation!
Œuvre aux dimensions théâtrales, le grandiose Requiem de Verdi réunira quatre solistes de renom ainsi qu’un vaste effectif choral et instrumental sous la direction de Rafael Payare. Le lyrisme profond des voix solistes, la puissance du chœur et de l’orchestre ou les effets saisissants du célèbre Dies Irae, entre autres, créent un parcours émotionnel hors du commun. Venez expérimenter le pouvoir de la musique!
A work of theatrical proportions, Verdi’s grandiose Requiem will bring together four renowned soloists and a vast choral and instrumental ensemble under the direction of Rafael Payare. The profound lyricism of the solo voices, the power of the choir and orchestra and the striking effects of the famous Dies Irae, among others, create an extraordinary emotional journey. Come and experience the power of music!
En compagnie de solistes renommés et à la tête d’un effectif vocal et orchestral colossal, Rafael Payare dirigera un monument du répertoire postromantique : les Gurre-Lieder de Schoenberg. In the company of renowned soloists and at the head of a colossal vocal and orchestral ensemble, Rafael Payare conducts a monument of the post-Romantic repertoire: Schoenberg’s Gurre-Lieder. POUR ACHETER VOTRE BILLET, C’EST ICI!
Ce contenu provient de l’Orchestre Symphonique De Montréal et est adapté par PAN M 360
Friday night at OM: spectacular violin and Fairy sand tales
by Frédéric Cardin
Another symphonic evening that fills the music-loving heart with hope and pride. The Maison symphonique in Montreal was packed to capacity on Friday evening. A colorful, well-diversified crowd, with many young people in attendance. The Orchestre Métropolitain (OM) attracts, and what’s more, with a program of works largely unknown to the general public. Something very positive is happening in Montreal for the future of classical music. In short, my first impression of this evening: a success.
Now for the program and the rendering. Let’s say it right away: it was very enjoyable. Conductor JoAnn Falletta, a pioneer of female conducting in the U.S., addressed the audience in a very correct, respectful French. She set the scene for what was to come with sobriety.
The evening opened with Gustav Holst’s Winter Idyll. A short symphonic poem with a pastoral feel, but with a broad, sometimes cinematic deployment. It evokes a picture of wintry England, shrouded in snow. ‘’A bit like Quebec,” the intro says. I doubt it. Holst wouldn’t have written such relatively serene music if he’d known the Canadian cold. Nonetheless, it’s very pretty and Falletta leads with precision, albeit with a little too much reserve, in my opinion.
The first of the evening’s two “stars” arrived for the second course: the flamboyant violinist Nemanja Radulovic. Long hair down to the middle of his back, wide-ankled pants almost reminiscent of a dress, he represents what in another era purists would have loved to hate. Fortunately, we’re not there anymore. What counts is the music. This one, Aram Khachaturian’s Violin Concerto, clearly required this kind of performer. Movements 1 and 3 are furiously expressed, often bringing us back to the energy of his famous Saber Dance. Then, a central movement full of tenderness but also sadness, with exquisite triple pianissimos from the soloist. I was expecting, however, a brighter, more propulsive sound from him. Instead, he sounded veiled, especially at the beginning of the score, resulting in some imbalances between him and the orchestra, which buried his speech on a few occasions. Things settled down along the way, and the musician’s technical fireworks (what diabolical mastery of his instrument!) lifted the crowd into, shall we say, delirium.
I’d like to note the exceptional playing of a few of the Orchestra’s first chairs: horn player Louis-Philippe Marsolais, who performed to perfection a monstrously difficult solo in the 1st movement, and then, in the same movement, clarinetist Simon Aldrich, in an intimate exchange with Radulovic, who was very attentive (the violinist turned around for this passage, with his back to the audience to better converse with Aldrich). A beautiful moment.
After a prolonged standing ovation, Radulovic finally gave an encore: Što Te Nema by Aleksandar Sedlar, a Bosnian mourning song in which the Serbian violinist demonstrated that he cannot be reduced to a media circus virtuoso. In this piece, which oozes melancholy, he achieves an almost unimaginable degree of dynamic sweetness. What, four or five pianissimos? A needle hitting the carpet would have outdone him. Impressive. Thanks to the Maison symphonique’s mesmerizing acoustics, such incredible music-making can be heard in all its finesse. This piece can be found on Radulovic’s Roots album.
Nemanja Radulovic JoAnna Falletta Orchestre Métropolitain cr.: François GoupilNemanja Radulovic JoAnna Falletta Orchestre Métropolitain cr.: François Goupil
The evening’s other star soloist is not a musician, but a visual artist. Ukrainian sand artist Kseniya Simonova has been travelling the world for several years. She has taken part in, and sometimes won, all kinds of popular competitions such as Got Talent in several countries (Ukraine, Britain, America, etc.). Her work is very beautiful, with a more fluid and animated resemblance to shadow theater techniques.
Last night, she was given the challenge of bringing visual life to the score of Zemlinsky’s The Little Mermaid (Die Seejungfrau). Of course, the subject itself was already well-suited to this kind of animation: a classic fairy tale, evocative visual accompaniment, everything was in place for a relevant marriage. I must admit, I didn’t expect it to be so successful and enchanting. Not only does Zemlinsky’s undulating, post-romantic, impressionistic-tinged music have what it takes to transport the mind and heart, but the virtuoso’s visual artistic technique is perfectly suited to it. Kseniya Simonova, too, transforms her canvas with magical fluidity to the ever-changing music. The beard of Neptune, god of the seas, can become, with remarkable ease and speed, a ship carried by the waves or a starry sky. Before our very eyes, the mermaid’s tail becomes a pair of elegant legs. And so on, so that the audience fully understands what the music is telling (although everyone present must already have known the story by heart).
The beauty of the setting is amplified by the slightly golden color of the tabular backlighting, on which the grains of sand manipulated by the artist twirl, lending an ancient, even timeless aspect to the fantastic panorama unfolding before our eyes. All of this projected onto a giant screen for an enthralled symphony house.
Nemanja Radulovic JoAnna Falletta Orchestre Métropolitain cr.: François Goupil
As I said, the Orchestre Métropolitain outdid itself. But I’d also like to highlight JoAnn Falletta’s clear, solid direction. Without being breathtaking, the conductor imposed order and confidence, leaving enough room for the musicians’ expressiveness. A no-nonsense maestra, devoted to the music and leaving the “show” to those who are paid to do it.
I had a very strong feeling that the largely unaccustomed audience came away from this adventure with a shared sense of satisfaction and wonder. Bravo to OM, that’s exactly what music is for.
Under the direction of American conductor JoAnn Falletta, Zemlinsky’s The Little Mermaid comes to life in music, but also in sand, thanks to live drawings by Ukrainian Kseniya Simonova, a pioneer and global icon of sand art.
Violinist Nemanja Radulović, a veritable phenomenon in Europe, presents a work that has greatly contributed to his fame, Khatchaturian’s famous concerto. Vivid melodies, oriental sounds and exuberance are the order of the day!
Sous la direction de la cheffe américaine JoAnn Falletta, La petite sirène de Zemlinsky prend vie en musique mais aussi dans le sable grâce aux dessins réalisés en direct de l’Ukrainienne Kseniya Simonova, pionnière et icône mondiale du sand art.
Le violoniste Nemanja Radulović, véritable phénomène en Europe, présente une œuvre qui a grandement contribué à sa renommée, le célèbre concerto de Khatchaturian. Mélodies vives, sonorités orientales et exubérance assumée seront au rendez-vous!
Two major artists on the international opera scene join Yannick Nézet-Séguin in a sublime quest for light. Soprano Janai Brugger carries the steady, deep glow that characterizes Poulenc’s Gloria, the French composer’s landmark work, while mezzo-soprano Karen Cargill explores humanity’s greatest sufferings in the psalm “Du fond de l’abîme” (From the depths of the abyss) in order to bring out the spark of hope. Between these two choral works, there is a closeness: the inspiration Poulenc drew from the musical writing of Lili Boulanger.
Amy Beach, the first American symphonist, draws on her Irish roots to compose her Gaelic Symphony. She brilliantly illustrates the resilience of this decimated and exiled people who, despite the hardships, keep the flame of their culture alive through their folklore.
Deux artistes majeures de la scène lyrique internationale rejoignent Yannick Nézet-Séguin dans une sublime quête de lumière. La soprano Janai Brugger porte la lueur constante et profonde qui caractérise le Gloria de Poulenc, œuvre phare du compositeur français, alors que la mezzo-soprano Karen Cargill explore dans le psaume « Du fond de l’abîme » les plus grandes souffrances de l’humanité afin d’en faire jaillir l’étincelle de l’espoir. Entre ces deux œuvres chorales, une proximité transparaît : l’inspiration que Poulenc a puisé dans l’écriture musicale de Lili Boulanger.
La première symphoniste américaine Amy Beach puise dans ses racines irlandaises pour composer sa Symphonie gaélique. Elle illustre avec brio la résilience de ce peuple décimé et exilé qui, malgré les épreuves, maintient la flamme de sa culture grâce à son folklore.
Kent Nagano and Fred Pellerin unite with the OSM to deliver a brand-new Christmas tale: Le secret de Polichignon. It features Méo Bellemare, the town “hair-crafter” of Saint-Élie-de-Caxton, who grooms beards, mustaches and scalp hair. Méo’s privileged access to the townspeople’s capillary needs also keeps him abreast of all their secrets. How will he use this occult knowledge, as someone who wants to save humanity? Join us for this festive evening to found out how the story unfolds.
Kent Nagano et Fred Pellerin retrouvent l’OSM pour vous offrir un nouveau conte de Noël : Le secret de Polichignon. Il met en scène Méo Bellemare, « écheveleur » à Saint-Élie-de-Caxton, qui entretient barbes, moustaches et cheveux. Par son accès privilégié et régulier à la capillarité des villageois, il est au fait de tous leurs secrets. Quel usage va-t-il en faire, lui qui se veut le sauveur du monde ? Participez à cette soirée festive pour découvrir la fin de cette palpitante histoire.
Admired for the intensity of her playing, violinist Simone Lamsma joins the OSM to perform Szymanowski’s Violin Concerto No. 1. Inspired by the Polish poem “May Night”, the piece is bathed in a contemplative atmosphere. Mahler’s Seventh Symphony also establishes a nocturnal climate, until its resolution in a luminous finale. This astonishingly modern work bears witness to the composer’s innovative imagination.
Admirée pour l’intensité de son jeu, la violoniste Simone Lamsma se joindra à l’OSM afin d’interpréter le Concerto pour violon no 1 de Szymanowski. S’inspirant du poème polonais « La nuit de mai », la pièce baigne dans une atmosphère contemplative. Un climat nocturne s’instaure également dans la Septième Symphonie de Mahler jusqu’à sa résolution dans un lumineux finale. Cette œuvre d’une étonnante modernité témoigne de l’imagination innovante du compositeur.
The favorite friends of toddlers and their families invite themselves to the Orchestra!
Passe-Partout, Passe-Carreau and Passe-Montagne take to the stage to showcase the enchantment of instruments and sing well-known Poussinots and Poussinettes tunes.
Don’t miss this family concert in the musical universe of Télé-Québec’s flagship program, which is lulling a new generation of toddlers to sleep, while allowing their parents to rediscover their childlike hearts.
The concert lasts approximately 60 minutes.
Les amis favoris des tout-petits et de leurs familles s’invitent à l’Orchestre!
Passe-Partout, Passe-Carreau et Passe-Montagne montent sur scène pour faire découvrir la féérie des instruments et pour chanter des airs bien connus des Poussinots et Poussinettes.
Ne manquez pas ce concert familial dans l’univers musical de l’émission phare de Télé-Québec qui berce une nouvelle génération de tout-petits tout en permettant à leurs parents de retrouver leur cœur d’enfant.
Ce concert est d’une durée d’approximativement 60 minutes.
This content comes from l’Orchestre Métropolitain and is adapted by PAN M 360.
Subscribe to our newsletter
Manage Cookie Consent
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.
