classique / Jazz / Orchestral Pop / Pop / trad québécois

The sparkling magic of Christmas, Yannick Nézet-Séguin… and Antoine Gratton!

by Frédéric Cardin

Far be it from me to diminish the quality of yesterday’s performances by the guest artists at the (now) classic eclectic Christmas concert by the Orchestre métropolitain and Yannick Nézet-Séguin. Mélissa Bédard makes a strong impression in Glory Alleluia and Minuit, chrétiens (O Holy Night). Her full contralto (non operatic) voice, very accurate and free of unnecessary embellishments, stood out. Kim Richardson did the same with other classics such as White Christmas and I’ll be Home for Christmas. Then there was the lyrical sensation of the hour, Élizabeth St-Gelais, who gave us Les Anges dans nos campagnes (Angels We Have Heard On High) and a rather successful Sainte Nuit (Silent Night) sung in Innu (St-Gelais’ indigenous Nation). There was also a fine duet with Michel Rivard, with a heartfelt Gens du pays. Rivard also offered C’est dans la famille, initially a little vocally fragile, but authentic.

Taurey Butler, Mr ‘’Charlie Brown Christmas’’ at Bourgie Hall each season, with the excellent Wali Muhammad on drums and Morgan Moore on double bass, gave us some lovely jazz flights of fancy on the piano (no Charlie Brown, though. That’s reserved for the other hall) in a few traditional titles from the repertoire, and fiddler David Boulanger treated us to a very pleasant Petit concerto for Carignan and orchestra by André Gagnon, with Oleg Larshin, OM’s first violin. Well-controlled contrasts between the ‘classical’ solos of Larshin and Boulanger’s fiddlings, modern echoes of Yehudi Menuhin and Jean Carignan, for whom the work was composed. A true miniature masterpiece, it was accompanied by another of Gagnon’s must-haves: an extract from his 1992 album Noël, the warm and gently melancholy Ronde des bergers (Shepherd’s dance). I’d never paid attention to this detail before, but the horn solos are formidable! Even the ever-perfect Louis-Philippe Marsolais learned this the hard way. Of course, the finale was performed by everyone at the same time, an essential communion embodied by the Beau Dommages/Michel Rivard classic: 23 December. It was a great success, bringing people together in an ecumenical way and reflecting the image of a Quebec that is both ‘’traditional’’’ and coloured by its modern diversity. Well done.

Kim Richardson/Élizabeth St-Gelais/Michel Rivard/OM crédit : Denis Germain – Orchestre Métropolitain

In short, everyone rose to the occasion, and then some. Good humour reigned supreme, and the stage and the entire Maison symphonique shone with a thousand colours, in a cosy, inviting atmosphere. So hats off to them. But the reason I wanted to include Antoine Gratton’s name in my title is that the supreme link between all the pieces, all the performances, all the musical styles evoked in this secular and musical mass, the unifying factor that enabled us to spend almost two hours, without intermission and without any boredom, well hooked into the proceedings, this indispensable secret of success, is Antoine Gratton’s arrangements.

The singer-songwriter, who once called himself A Star, has also been a skilled arranger of symphonic pop concerts for some years now. Yesterday, he came up on top thanks to the originality of the scores he produced for the orchestra and choir, which provided a brilliant accompaniment to the above-mentioned performances. No matter how well-known the tunes, Gratton knows how to sprinkle his arrangements with a host of surprises for the ears, be they harmonic, colouristic or rhythmic. Here’s just one example: the counterpoint between the orchestra’s bells and the backing singers’ clapping hands in a passage from My Favourite Things. Delightful.

The arranger is too often forgotten in this kind of event, but he shouldn’t be, especially not in the case of this concert, which could have turned into a litany of syrupy melodies strung together interminably, had it been for other, less creative pens. Thousands of dinners of turkey, tourtière and cranberry sauce are the same all over Quebec during the festive season. But sometimes there’s a chef in the kitchen, hiding behind his or her pots and pans, who manages to reinvent the classics and bring them all together in a way that’s original enough to be noticed. And all this without going overboard and leaving a bitter taste in the mouth. In cases like this, let’s invite that person to the table and honour him-her (which is what happened on stage yesterday).

Let’s not doubt for a moment that there will be a 2025 edition.

chanson keb franco / classique

OSM : Charlebois symphonique, une célébration grandiose avec l’OSM – Supplémentaires

by Rédaction PAN M 360

Après l’immense succès rencontré par le concert Charlebois symphonique au mois d’août dernier, l’OSM vous propose de retrouver Robert Charlebois et ses invités pour des supplémentaires de ce concert mémorable. Charlebois, ce géant de la musique, revisitera ses plus grandes chansons en version symphonique, dont Ordinaire, Je reviendrai à Montréal et quelques trésors cachés.

After the immense success of the Charlebois symphonique concert last August, the OSM invites you to join Robert Charlebois and his guests for additional performances of this memorable concert. Charlebois, a giant in music, will revisit his greatest songs in a symphonic version, including Ordinaire, Je reviendrai à Montréal, and a few hidden gems.

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classique

OSM : Ravel et Prokofiev par Weilerstein et Payare

by Rédaction PAN M 360

Le ballet Daphnis et Chloé est l’évocation poétique d’une nature idyllique et d’une Grèce rêvée par Ravel. Les couleurs chatoyantes de l’orchestre et la finesse de l’écriture confèrent à cette partition une délicate sensualité. Autre joyau au programme : la Sinfonia concertante de Prokofiev. Cette œuvre de caractère, teintée d’un humour sarcastique, sera servie par l’immense talent de la violoncelliste Alisa Weilerstein.

The ballet Daphnis et Chloé poetically conjures an idyllic natural setting combined with elements of Greek Antiquity as imagined by Maurice Ravel, to the orchestra’s glistening hues and subtle inflections, that endow this work with graceful sensuality. The program’s other precious gem is Prokofiev’s Sinfonia Concertante, a colourful piece tinged with sarcasm and humour, brought to life through Alisa Weilerstein’s powerful artistry.

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classique / jeunesse

OSM : Mon beau concerto!

by Rédaction PAN M 360

Plongez dans l’univers du concerto, une forme musicale intemporelle qui continue d’enchanter les mélomanes de tous âges. Qu’il soit interprété au piano, au violoncelle ou au trombone, découvrons ensemble les secrets de cette forme musicale captivante en compagnie de trois solistes exceptionnels, lauréat.es du prestigieux Concours OSM. Un concert riche en découvertes, idéale pour éveiller la curiosité et la passion des jeunes mélomanes!

Dive into the world of the concerto, a timeless musical form that continues to captivate music lovers of all ages. Whether brought to life on the piano, cello, or trombone, let’s uncover the secrets of this fascinating genre together with three exceptional soloists, prize winners of the prestigious OSM Competition. A concert rich in discoveries, perfect for sparking curiosity and passion in young music enthusiasts!

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Choral Music / Classical / musique contemporaine

Schulich | Duruflé’s grandeur at the Maison

by Judith Hamel

The Maison Symphonique vibrated this Sunday afternoon under the bows, mouthpieces and voices of the students of the McGill Symphony Orchestra, the Schulich Chamber Choir and the McGill University Choir. No fewer than 230 musicians took to the stage to honour this remarkable music on an impressive program spanning the 20th-century and diverse aesthetics.

While their Pollack concert hall is closed, the ensembles take advantage of the opportunity to play in several of the city’s venues. This time, it was the Maison Symphonique. 45 minutes before the start of the concert, the audience was greeted with a musical performance by the Schulich Chamber Choir in the hall’s Foyer. Under the Christmas tree and in front of a very attentive audience, they gave us a fine introduction, led by 6 choirmasters.

As a prelude to the Requiem, the concert got off to a gentle start with the choral piece Ubi Caritas. The 90-strong orchestra, 140 choristers and Maison Symphonique Pierre-Béique organ, conducted by Jean-Sébastien Vallée, followed with a remarkable performance of Maurice Duruflé’s Requiem.

Despite some passages where a little more assurance from the choir would have been appreciated, it nonetheless stood out for its impressive solidity, alternating between melodic passages of great finesse and heart-rending fortissimos. And when choir, orchestra and organ unite, the sonic impact in the hall is staggering. The power of the ensemble literally overwhelms the audience. The fourth movement, Hosanna, stood out for its spectacular intensity, highlighting the hall’s acoustics. In the fifth movement, Pie Jesu, the orchestra showcased mezzo-soprano Javiera Zepeda magnificently, particularly in her high passages, where her vocal mastery combined perfectly with the timbre of the alti and cellos. The Requiem was a highlight of the concert.

Then, after the intermission, the performance of Schoenberg’s Theme and Variations was carried off by a remarkably solid brass section. From the very first expositions of the main theme, articulations were clean and precise, highlighting an essential feature of the work. Each section offered distinctive sonic spaces, allowing the orchestra to reveal all the finesse of the counterpoint and the elegance of the orchestration.

The concert ended with Edward Elgar’s Enigma Variations, taking us into a subtle and mysterious interplay. Each of the 14 variations sketches a sonorous portrait of someone close to the composer, blending tenderness, playfulness and depth, culminating in a final variation in which he reveals himself. The most striking variation was the ninth, Nimrod, in which Alexis Hauser brought a poignant intensity to the musicians. Another impressive moment was the tenth variation, named Dorabella, where strings and woodwind perfectly captured the mischievous laughter of Elgar’s friend Dora Penny, offering a moment of lightness and humor. Finally, perhaps in some passages the trombonists overdid the power of their instrument, but we forgive them.

Altogether, it was a magnificent concert, in which the musicians seemed to be fully inspired by the grandeur of the venue. Before plunging into the holiday spirit, this afternoon put a balm on our November blues.

photo : Tam Photography

Classical / Modern Classical / période romantique

OSM | Alpine Symphony: When Woods Become Sherpas

by Alexis Desrosiers-Michaud

These are the last concerts this week for the Orchestre symphonique de Montréal (OSM) before its forthcoming tour, which will take it to the finest concert halls in Europe over the next few weeks. For the occasion, it was the turn of Richard Strauss’s Alpine Symphony to be broken in, conducted by Rafael Payare.

As a curtain-raiser, the OSM also presented Jeden Baum spricht “Chaque arbre parle” by Iranian-Canadian Iman Habibi. According to the program note, this work would have had everything to gain from being included in last month’s OSM Beethoven Marathon. It ticks all the boxes of how the composition competition was presented at the concerts, or, roughly speaking, how the composer can express today the influence that Beethoven has had on his life. To take things a step further, it is written that the very title comes from one of Beethoven’s diaries. And that’s what we hear! Habibi skilfully uses the dramatic, country aesthetics of the Fifth and Sixth symphonies, without quoting them, in a tripartite structure, with agitated brass and percussion, but calmer strings and woodwinds. This leads to a grandiose, hopeful finale. In short, something more interesting than the two creations we personally attended at the Sunday, October 20 concerts. We can’t help smiling when we recall that the OM competition dates back to before the pandemic, and when we read that Jedem Baum spricht was premiered in 2020 as a commission from the Philadelphia Orchestra, which is conducted by… Yannick Nézet-Séguin!

24 hours before the concert, the OSM announced that Scriabin’s Piano Concerto would be replaced by Ludwig van Beethoven’s Third Concerto , still performed by Bruce Liu. The latter will thread the concerto with finesse and fluidity. He never forces, picks or over-stamps. His right hand is so agile that trills are almost imperceptible, and his nuances are breathtaking. Liu has the ability to suspend notes at the last moment to dampen a phrase or change character. The beginning of the second movement transports us into another world, with a comforting left hand and a melody barely touched by the fingers of the right hand. No one gave an explanation for the change of work, but this performance was well worth it.

The Alpine Symphony is impressive in terms of length (45-50 min.), dense instrumentation (abundant brass and percussion sections, unusual instruments) and thematic flourishes, but you have to delve into the details to really impress. With more or less 130 performers, playing loud is child’s play, but it’s not always easy to measure out the nuances. As Payare prioritizes the instrument family most likely to be buried, namely the woodwinds, everything balances out. As experienced guides, they were brilliant, individually and collectively. From the very first note, bassoonist Stéphane Lévesque and his colleagues set the calm mood of dawn, against a background of imperceptible violins. Then, new principal oboist Alex Liedtke distinguished himself in a distant solo. Later, the same Liedtke, with clarinetist Todd Cope and the legendary Timothy Hutchins on flute, literally had us on the edge of our seats on the eve of the storm, not quite sure when the sky was going to fall. The Post-GoldenElegy was even better. The abyssal gulf in orchestration (from full orchestra to intimate, chamber formation with woodwinds, horn and trumpet solos on organ pedal) doesn’t affect the playing in the slightest. The trap of excitement and agitation of the previous section is avoided, and we swim in a moment of zenitude. Throughout the symphony, the horns were present without being overpowering. In fact, they could have taken up more space in a few places, such as each time the chorale motif is repeated from the outset. The volume of the banda was good, and the horns made a real impact in their long Summit melody, but it wouldn’t have been as excellent without the contribution of the strings below, which dictate the phrase without releasing the tension in the long notes. In short, the Alpine Symphony may tell the story of an adventurer’s ascent alone, but this magnificent performance is the work of a collective perfectly aware of the role each must play to reach the summit.

Photo Credit: Antoine Saito

Classical

Jason Xu, first saxophonist to win top honors at the OSM Competition

by Alexis Desrosiers-Michaud

For the first time in its history, the finale of the OSM Competition featured not one, but two saxophonists, in addition to a trumpeter and a bass trombonist. And for the first time in its history, the top prize went to a saxophonist, Chinese-Canadian Jason Xu.

It was with him that the final of the competition opened, with a performance of André Waignien’s Rhapsodie for alto saxophone. This piece gave him no respite. There aren’t many lyrical passages, but he’s able to make the lines sing in a virtuosic way. Xu has a beautiful, expressive and silky sound. However, we lose him a little on the soft nuances, but the orchestra, conducted by Jacques Lacombe, could have played less loudly. Otherwise, one of his qualities is to make a whole with the latter. You can quickly sense the chemistry between soloist and orchestra.

The second candidate was Ottawan trumpeter Charles Watson in Franz Joseph Haydn’s Trumpet Concerto. Stoic, he took up the challenge of playing with a rounded sound, without force or flamboyance, using finesse and clean articulations. However, there was a slight lack of nuance and phrasing. No one knows if concentration earns points, but he was occasionally disturbed, notably by applause in the wrong places, despite the warnings, and by the cries of a toddler. Also, a concerto cadenza is not a jazz solo: you don’t applaud at the end of it and when the orchestra resumes! Despite this, Watson remained unperturbed.

After the intermission, it was Malena Lorenson’s turn to perform John Williams’ Concerto for Tuba (yes, him), but adapted for bass trombone. Despite a few cracks at the start, her performance was breathtaking. The sound is even throughout the instrument’s vast register, and Lorenson easily rises above the orchestral ensemble. It should not be forgotten that the concerto is designed to be played by a valve instrument, whereas on the trombone, it is the arm alone that moves a slider to make the note changes. Lorenson renders these complex gymnastics with impressive ease, and also outdoes herself in the articulations of the lower register. A native of Alberta but currently studying in Montreal, she was roundly applauded by the audience.

The afternoon line-up concluded with Bingchen He. The second saxophonist of the evening chose to perform Henri Tomasi’s Concerto for alto saxophone. There are plenty of notes, but little added value in virtuosity. As in Williams’ Concerto, the orchestration is very dense and, unfortunately, the saxophone is eaten alive on several occasions. He takes up more space on stage than the others, and there’s a sense of less symbiosis with the orchestra. After lengthy deliberation, the results were as follows:

1st prize: Jason Xu

2nd prize: Malena Lorenson

3rd prize: Bingchen He

4th prize: Charles Watson

The international jury, chaired by Aline Sam-Giao, General Director of the Orchestre philarmonique royal de Liège, was comprised of : Leone Buyse, Ida and Joseph Kirkland Muller Professor Emeritus of Music at Rice University, Manon Lafrance, trumpeter and teacher, Louise Pellerin, oboist and professor at Zurich University of the Arts, Rafael Payare, Music Director of the OSM, Jacques Lacombe, conductor and Peter Sullivan, principal trombone with the Pittsburgh Symphony Orchestra.

photo : Antoine Saito

classique / post-romantique

OSM : Ravel et Debussy à l’orgue

by Rédaction PAN M 360

De Couperin à Robin, découvrez la musique française pour orgue avec des pièces originales et des transcriptions. Bien que Ravel et Debussy n’aient pas écrit pour cet instrument, leur musique toute en nuances de couleurs et de timbres sonnera merveilleusement sur le Grand Orgue Pierre-Béique.

From Couperin to Robin, discover French organ music in original organ works as well as transcriptions. While Ravel and Debussy never composed for this instrument, their music, full of subtle colours and timbres, will resound with splendour on the Grand Orgue Pierre-Béique.

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classique / Jazz

OSM : Les années folles avec Gershwin & Gatsby

by Rédaction PAN M 360

En compagnie de l’OSM et du pianiste Marc-André Hamelin, virtuose hors pair, improvisateur et musicien éclectique, revivez l’ambiance des années 1920. Du jazz symphonique d’Antheil à la célébrissime Rhapsody in Blue de Gershwin, en passant par le fox-trot et les évocations nostalgiques de la vie tumultueuse de Gatsby le magnifique, retrouvez l’Amérique des années folles lors d’une soirée trépidante!

Relive the atmosphere of the 1920s in the company of the OSM and pianist Marc-André Hamelin, an eclectic musician, improviser, and unrivalled virtuoso. From Antheil’s symphonic jazz to Gershwin’s legendary Rhapsody in Blue, as well as the foxtrot and nostalgic evocations of the great Gatsby’s eventful life, return to the America of the Roaring Twenties during a wild night!

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classique / Folk Rock / Indie Pop

OSM : Le retour d’Half Moon Run à l’OSM

by Rédaction PAN M 360

La première rencontre musicale entre le célèbre groupe montréalais Half Moon Run et l’OSM fut remarquable et mémorable. Les artistes se donnent à nouveau rendez-vous sur la scène de la Maison symphonique pour une expérience musicale inédite et originale. Venez vibrer au son des harmonies vocales uniques de Devon Portielje, Conner Molander et Dylan Phillips, sous la direction d’Adam Johnson!

The celebrated Montreal band Half Moon Run’s first appearance with the OSM was an outstanding and memorable event. The band’s artists reconvene onstage at the Maison symphonique to deliver a new and inventive musical experience. Enjoy the sounds of unique harmonies as sung by Devon Portielje, Conner Molander and Dylan Phillips, under the direction of Adam Johnson!

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classique / Piano

OSM : Le Concerto pour piano nº 3 de Rachmaninov

by Rédaction PAN M 360

Marie-Ange Nguci, étoile montante du piano, fera ses débuts avec l’OSM dans le Concerto n^o 3 de Rachmaninov, une œuvre brillante, d’une redoutable virtuosité. S’inspirant du mythe d’Endymion, la compositrice canadienne Jean Coulthard réalise un somptueux fondu enchainé de couleurs orchestrales pour évoquer avec lyrisme le sommeil sans fin du jeune héros grec. Découvrez les mystères entourant ces deux œuvres en compagnie du comédien Philippe-Audrey Larrue-St-Jacques.

Rising star Marie-Ange Nguci makes her OSM debut in Rachmaninoff’s Piano Concerto no. 3, a shining work of formidable virtuosity. Drawing on the myth of Endymion, Canadian composer Jean Coulthard offers a feast of orchestral colours, lyrically conjuring the young Greek hero’s eternal sleep. Unravel the mysteries surrounding these two works along with actor Philippe-Audrey Larrue-St-Jacques.

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classique

OSM : Payare dirige l’émouvant Requiem de Mozart

by Rédaction PAN M 360

L’intensité dramatique et la sincérité des sentiments exprimés par Mozart dans son Requiem contribuent à la fascination que cette œuvre continue d’exercer plus de 200 ans après sa composition. La thématique de la mort est également abordée par Bach avec humanité, et le climat contemplatif du motet Jesu, meine Freude offre une vision sereine de l’au-delà. Le génie de Bach et de Mozart sera magnifié par l’Orchestre et le Chœur de l’OSM.

The dramatic intensity and emotional candour expressed in Mozart’s Requiem contribute to the fascination this work continues to arouse more than 200 years after it was written. Bach similarly approaches the theme of death through an aura of contemplative humanism in the motet Jesu, meine Freude, in which a serene vision of the afterlife is offered. The genius of both Bach and Mozart will be celebrated by the Orchestra and the OSM Chorus.

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