Après son succès remporté en 2023, Tianyi Lu retrouve l’OSM en compagnie du pianiste Pierre-Laurent Aimard, un spécialiste incontesté de Bartók. De ce dernier, il interprétera le Troisième Concerto, une partition emplie de poésie et d’emprunts au folklore hongrois. À la relative sérénité de cette œuvre, répondront les accents tourmentés de la Symphonie no 5 de Tchaïkovski dans laquelle le compositeur livre ses craintes les plus secrètes.
After her remarkable performance in 2023, Tianyi Lu returns to the OSM. She is joined by pianist Pierre-Laurent Aimard, undisputed champion of Bartók’s music who performs the composer’s exquisitely poetic Concerto no. 3, infused with elements of Hungarian folklore. This work’s relative tranquility is paired with the tormented inflections of Tchaikovsky’s Symphony no. 5, through which this composer related his most profound personal anxieties.
A Celestial Journey: Holst’s The Planets with the OPCM
by Varun Swarup
More than a century after its premiere, Holst’s The Planets continues to hold a central place in the orchestral repertoire, and under the direction of François Choinière with L’Orchestre Philharmonique et Chœur des Mélomanes (OPCM), the work’s intricate textures and emotional breadth were rendered with clarity and purpose. The Maison Symphonique’s near-capacity audience reflected this monumental suite’s enduring appeal.
The performance unfolded with a keen attention to detail, capturing the distinct character of each movement. From the relentless, percussive energy of Mars to the ethereal, fading strains of Neptune, the orchestra demonstrated both technical precision and a deep understanding of Holst’s expansive vision. The audience’s enthusiastic applause after each movement underscored their connection to the music. Particularly notable was the rendition of Venus, which unfolded with a serene, lyrical quality that contrasted effectively with the surrounding movements. However, it was Neptune that left the most lasting impression. With the women’s chorus positioned strategically far above the audience, their disembodied voices gradually receded into silence, creating an otherworldly effect that lingered in the hall long after the final note. The collective stillness of the audience before the eruption of applause spoke volumes about the performance’s impact.
The second half of the program shifted gears with Karl Jenkins’ Gloria, a large-scale choral work that, while undeniably vibrant and rhythmically engaging, felt somewhat incongruous alongside the introspective and cosmic qualities of The Planets. Despite this programming contrast, the OPCM choir delivered a committed and polished performance, navigating the work’s dramatic shifts with precision and energy.
Choinière’s leadership remained a unifying force throughout the evening. His conducting was both expressive and controlled, balancing the score’s dynamic extremes with a clear sense of direction. His ability to draw out the orchestra’s full range of colors and textures was evident, particularly in the more delicate passages, where his nuanced approach allowed the music to breathe.
While the pairing of Holst and Jenkins may have highlighted differing musical sensibilities, the evening ultimately showcased the OPCM’s versatility and Choinière’s skill as a conductor capable of navigating both the monumental and the intimate with equal assurance.
OSM : L’intense Symphonie « Leningrad » de Chostakovitch
by Rédaction PAN M 360
Ce programme juxtapose la pétillante Symphonie no 8 de Beethoven et la puissante Symphonie «Leningrad» de Chostakovitch, une œuvre poignante qui incarne la force de la résistance face à l’oppression. Ce contraste saisissant entre la quête de joie et l’évocation d’un moment historique dramatique promet un concert intense et captivant.
This program contrasts Beethoven’s vibrant Symphony No. 8 with Shostakovich’s powerful Leningrad Symphony, a poignant work that captures the spirit of resistance to oppression. The striking juxtaposition of Beethoven’s joy and Shostakovich’s depiction of a dramatic historical moment promises an intense and captivating concert experience.
Programme
Ludwig van Beethoven, Symphonie no 8, op. 93 (26 min) Dmitri Chostakovitch, Symphonie no 7, op. 60, «Leningrad» (69 min)
Program
Ludwig van Beethoven, Symphony No. 8, Op. 93 (26 min) Dmitri Shostakovich, Symphony No. 7, Op. 60 (“Leningrad”) (69 min)
Découvrez la pianiste Yulianna Avdeeva, lauréate du prestigieux Concours Chopin en 2010, dont la maîtrise et la poésie magnifieront le Concerto n°1 de Chopin. Sa palette expressive, aussi raffinée que variée, promet de sublimer chaque note. Quant à Schoenberg, il dévoile toute la richesse du Quatuor op. 25 de Brahms, sans en trahir le style, en lui offrant une dimension symphonique. Une version que Brahms n’aurait pas reniée!
Discover the brilliant pianist Yulianna Avdeeva, winner of the prestigious 2010 Chopin Competition, as she brings her masterful technique and poetic sensitivity to Chopin’s Piano Concerto No. 1. Her expressive depth and refinement promise to illuminate every note. Meanwhile, Schoenberg’s orchestration of Brahms’ Quartet Op. 25 enhances its richness while remaining true to its original spirit—a transformation Brahms himself would have appreciated!
Programme
Frédéric Chopin, Concerto pour piano et orchestre no 1, op. 11 (43 min) Johannes Brahms, Quatuor pour piano et cordes no 1, op. 25 (orch. A. Schoenberg) (43 min)
Program
Frederic Chopin, Concerto for Piano and Orchestra No. 1, Op. 11 (43 min) Johannes Brahms, Quartet for Piano and Strings No. 1, Op. 25 (orch. A. Schoenberg) (43 min)
Le Ring sans paroles est une suite orchestrale composée à partir des thèmes musicaux les plus marquants de la tétralogie L’Anneau du Nibelung de Richard Wagner. Cette version condense l’essence musicale de l’œuvre monumentale de près de 15 heures en une fresque symphonique de 70 minutes. Le Ring de Wagner c’est la quête et la malédiction de l’anneau de pouvoir. Cet anneau magique forgé par le nain Alberich avec l’or volé du Rhin donne un pouvoir absolu, mais apporte ruine et destruction à ses possesseurs. Wotan, roi des dieux, tente de contrôler l’anneau, mais son plan échoue et mène à la chute des dieux. Le héros Siegfried, manipulé et trahi est tué par Hagen, fils d’Alberich. Sa veuve la walkyrie Brünnhilde, fille de Wotan, restitue l’anneau aux eaux du Rhin, scellant ainsi la fin d’un monde. Le Ring sans paroles offre une immersion intense dans cet univers wagnérien, mettant en valeur les moments les plus emblématiques en une seule symphonie, le prélude de L’or du Rhin, La Walkyrie, Siegfried et la fin apocalyptique du Crépuscule des Dieux. Entre le lyrisme exalté du Concerto de Schumann, interprété par le pianiste Yefim Bronfman, et le pouvoir destructeur de l’or dans Le Ring de Wagner, des forces opposées se déchaînent pour un concert de clôture qui marquera une fin de saison spectaculaire !
The Ring Without Words is an orchestral suite that distills the most iconic themes from Richard Wagner’s monumental tetralogy, The Ring of the Nibelung. This 70-minute symphonic fresco encapsulates the essence of the 15-hour epic, telling the tale of a magical ring forged by the dwarf Alberich from gold stolen from the Rhine. While the ring grants immense power, it also brings ruin and destruction to those who possess it. Wotan, the king of the gods, attempts to control the ring but fails, leading to the gods’ downfall. Betrayed and manipulated, the hero Siegfried is killed by Hagen, son of Alberich. Brünnhilde, the Valkyrie, daughter of Wotan and wife of Siegfried, returns the ring to the Rhine, marking the end of an era. The Ring Without Words offers an immersive journey through Wagner’s world, highlighting its most memorable moments, including the prelude to Das Rheingold, the Ride of the Valkyries, Siegfried’s death and funeral music, and the apocalyptic conclusion in Twilight of the Gods. In a thrilling season finale, the soaring lyricism of Schumann’s Piano Concerto, performed by pianist Yefim Bronfman, contrasts with the destructive power of gold in Wagner’s epic, creating a stunning clash of opposing powers.
Programme
Robert Schumann, Concerto pour piano, op. 54 (31 min) Richard Wagner, Le Ring sans paroles (70 min)
Program
Robert Schumann, Concerto for Piano, Op. 54 (31 min) Richard Wagner, The Ring Without Words (70 min)
Orchestre Philharmonique et Chœur des Mélomanes : Puccini – Turandot en concert à la Maison symphonique
by Rédaction PAN M 360
Vivez une soirée inoubliable de drame, de passion et de musique saisissante avec une version concert de Turandot de Giacomo Puccini. Cet opéra emblématique, situé dans la Chine antique, raconte l’histoire palpitante de la princesse Turandot, dont le cœur glacé et le défi impitoyable envers ses prétendants créent une atmosphère de mystère et de suspense. L’opéra regorge de certaines des musiques les plus puissantes et émotionnelles de Puccini, incluant l’air célèbre Nessun Dorma, qui est devenu un symbole de triomphe et d’espoir. Des moments intenses et dramatiques aux mélodies aériennes et luxuriantes, Turandot est un voyage émotionnel qui captive le public du début à la fin. Interprété par l’Orchestre Philharmonique et Chœur des Mélomanes sous la direction de Francis Choinière, cette version concert donne vie à l’opéra avec toute la force d’un orchestre symphonique, accompagné de chanteurs de classe mondiale qui insuffleront une vie vibrante aux personnages inoubliables de cet opéra.
Enjoy an unforgettable evening of drama, passion, and stunning music with a concert version of Giacomo Puccini’s Turandot. This iconic opera, set in ancient China, tells the thrilling story of Princess Turandot, whose cold heart and ruthless challenge to her suitors create an atmosphere of mystery and suspense. The opera is filled with some of Puccini’s most powerful and emotional music, including the famous aria Nessun Dorma, which has become a symbol of triumph and hope. From the intense and dramatic moments to the soaring, lush melodies, Turandot is an emotional journey that captivates audiences from start to finish. Performed by the Orchestre Philharmonique et Chœur des Mélomanes under the baton of Francis Choiniere, this concert version brings the opera to life with the full force of a symphonic orchestra, accompanied by world-class vocalists who will bring the unforgettable characters of the opera to vivid life.
OSM and Khachatryan | Music, Politics and The Human Condition
by Hélène Archambault
There are moments when you feel privileged to be where you are. Such was the case on Wednesday evening at the Maison symphonique. I think the feeling was mutual, at least if I’m to judge by the encore given by violinist Sergey Khachatryan, who gave a superb performance of Tchaikovsky’s Violin Concerto in D major, Op. 35.
The orchestra provided a setting in which he could express his sincerity, as when the flutes pick up at the end of his very personal cadenza, or again in the opening bars, as the strings introduce the solo violin.
The reminder is a piece by Grigor Narekatsi, a 10th-century Armenian mystic poet and saint of the Armenian Apostolic Church. In 2015, in commemoration of the 100th anniversary of the Armenian genocide, Pope Francis declared St. Gregory of Narek (Frenchized name), Doctor of the Church, the 36th, for his timeless writings. Timeless, Havoun, havoun is. More than 1,000 years apart, his play resonates.
After intermission, Payare and the OSM attack Shostakovich’s Symphony No. 11, Op. 103 “The Year 1905”. 11 young instrumentalists from Montreal’s Conservatory, McGill, and Université de Montréal music schools join the orchestra for the occasion. Knowing the history of this symphony is the key to fully appreciating it because it’s not the kind of piece you listen to while preparing a chickpea salad on Monday morning before catching the metro. The program notes are illuminating. Symphony No. 11 is intimately linked to the history of Russia, and later the Soviet Union, both in its writing and its reception by the regime. With the USSR having decreed Shostakovich’s music an enemy of the workers in the aftermath of the Second World War, new compositions had to wait until the 1950s. Composed at the beginning of 1957, Shostakovich recounts in music the popular uprising of 1905 against the Russian Empire.
The first movement, “Palace Square”, opens with a hostile winter scene, where bloody repression soon unfolds. Military snare drums, bugles, and folk song illustrations are all sound manifestations of the violence of the repression. The second movement evokes Red Sunday, and here again, Shostakovich uses musical material to depict the horror of the massacre and the desolation of death. The third movement, “Eternal Memory”, is reminiscent of the Revolutionaries’ Funeral March. As for the Finale, “Tocsin”, this is revolutionary fervor, characterized by trumpets and low strings, interrupted by an English horn melody, and ending with the sounds of cymbals and bells. When the music stops, you wonder what you’ve just experienced. I was moved, disturbed, and thrown to the ground. This concert embodies the human condition in all its fragility.
Les Violons du Roy : Bach, les premières cantates et Bernard Labadie
by Rédaction PAN M 360
On s’imagine facilement et même presque exclusivement le grand Johann Sebastian Bach en homme âgé, pétri des plus grands savoirs musicaux que seuls l’expérience et le temps apportent. C’est pourtant un tout jeune homme, au début de la vingtaine, qui nous lègue les puissants et parfaits chefs-d’œuvre que sont ses toutes premières cantates. Des œuvres qui ouvrent l’une des plus importantes sommes musicales de tout l’Occident, livrées ici avec La Chapelle de Québec, dans toute leur splendeur. Bernard Labadie, chef Myriam Leblanc, soprano Daniel Moody, contre-ténor Hugo Hymas, ténor Stephen Hegedus, baryton-basse Avec La Chapelle de Québec
It is easy to imagine the great Johann Sebastian Bach almost exclusively as an elderlyman, steeped in the greatest musical knowledge that only time and experience can bring. Yet it was a young man in his early twenties who handed down to us the powerful, true masterpieces that comprise his very first sacred cantatas. These works are the first of one of the most important musical collections in the whole of the western world, delivered in all their splendour here with La Chapelle de Québec. Bernard Labadie, conductor Myriam Leblanc, soprano Daniel Moody, countertenor Hugo Hymas, tenor Stephen Hegedus, bass-baritone With La Chapelle de Québec
Programme
J.S. BACH Cantate Christ lag in Todes Banden, BWV 4 Cantate Gottes Zeit ist die allerbeste Zeit, BWV 106 Cantate Aus der Tiefe rufe ich, Herr, zu dir, BWV 131 Cantate Nach dir, Herr, verlanget mich, BWV 150
Program
J.S. BACH Cantata Christ lag in Todes Banden, BWV 4 Cantata Gottes Zeit ist die allerbeste Zeit, BWV 106 Cantata Aus der Tiefe rufe ich, Herr, zu dir, BWV 131 Cantata Nach dir, Herr, verlanget mich, BWV 150
On this Valentine’s Day, we were treated to a premiere at the concert by Ensemble Caprice and Ensemble ArtChoral: Beethoven’s 9ᵉ symphony on early instruments, conducted by Matthias Maute.
The original program was to have opened with the little-known cantata Hiob by Fanny Mendelssohn-Hensel. Instead, we were treated to two Yiddish pieces, Ernst Bloch’s Yih’yu L’ratzon and a traditional aria calledOy dortn, as well as Gregorio Allegri’s famous Miserere.
The two Jewish pieces feature soprano Sharon Azrieli and her imposing vibrato. Acting as cantor, she announces psalmodies and the choir responds. We don’t know if it’s a microphone or projection problem, but she was barely audible from the back of the audience. All the same, it’s very pretty, and reminds us that this Jewish and Hebrew music is too rarely performed in our concert halls.
The Miserere is a jewel of musical genius that leaves no room for error. Unfortunately, there were mistakes. Firstly, the voices of the quartet perched high up in the Maison symphonique are not homogeneous; those of the men do not vibrate, whereas those of the women do. What’s more, it’s not always right. Then, there’s no change in volume throughout the piece, and as this piece is often repeated, it becomes redundant and loses all its intimacy. Then, in the psalmodies, different notes are accentuated by the choristers, instead of being lightly pressed, and it’s sometimes unclear in the cuts and consonants. In short, this is a fine work, but it would have deserved a more consistent rendering.
The real treat of the first half is Höre auf meine Stimme, written by William Kraushaar, also a chorister in the bass section. Maute warned us that the melody would stick in our heads, and for good reason. Simple without being kitschy, repeated often enough without our noticing it too much, it is supple and expressive. The accompaniment doesn’t impose itself, leaving the choir to sing along, acting as a harmonic carpet. Were it not for a few dissonant chords from the language of Morten Lauridsen and his contemporaries in the a cappella passages, we would have placed this work between the styles of Mendelssohn and Schubert, and on our first listen, this piece seems accessible to most amateur choirs. When will it be published?
According to conductor Maute, this is the first time in Montreal that Beethoven’s Ninth has been played on period instruments. It takes a few minutes to adapt to the new sound, but it’s very pleasant and successful, despite a few lapses in accuracy and precision. The sound isn’t fat, and the loud passages don’t give the impression that Obelix is lifting the Sphinx, but the tension is there. In the first movement, which Maute conducts at breakneck speed, you can hear all the elements of the musical dialogue, and the second really has the feel of a dance, something you don’t get from many other conductors. However, the middle section of this movement is too fast, and the winds don’t keep up. The third movement is certainly not adagio, but very cantabile. One enjoys the phrases without lingering or falling into the moon.
The last movement opens smoothly and lightly. Finally, the cello/bass recitatives are not too heavy! And all is exalted before the entrance of the chorus, with the recitative of bass Dominique Côté. But as soon as the chorus begins, something annoys us: a soprano pierces more than the rest of her section, especially in the high register, which is like saying almost all the time in Beethoven. Once this is targeted by the ear, it’s extremely difficult to ignore. My seatmate, who was also bothered by it, confided to me at the end of the evening that it wasn’t the first time it had happened to this tandem. If you don’t want one person’s work to unbalance a rare, high-level performance, this is something to be corrected.
OSM | Payare and Weilerstein: Passion for Two From Prokofiev to Ravel
by Alexandre Villemaire
On the eve of Valentine’s Day, February 12 and 13, the setting couldn’t have been more propitious for the pairing of Rafael Payare and Alisa Weilerstein on the Maison Symphonique stage.
If Maurice Ravel’s Daphnis et Chloé can be deliberately associated with the idyll of love, both in its subject matter and in its music, Sergei Prokofiev’s Symphony Concertante for Cello, with its eclecticism and biting, percussive sounds, could appear out of step with the program’s aesthetic. On the contrary, the works were highly complementary in terms of timbral language, dynamics and passionate playing.
Opening the evening, Sergei Prokofiev’s Symphonie concertante. Written between 1950 and 1952, this mature three-movement work by the Russian composer is a reworking of an earlier cello concerto that was roundly criticized. Prokofiev’s language is textured and composite, drawing on the full range of the cello’s sound, as well as orchestral and rhythmic sonorities and passages reminiscent of jazz. At the podium, Payare was as fiery as ever, but more restrained than usual in his gestures for this complex score, where the orchestral interventions are velocity-laden in terms of texture and technique. Payare’s direction was precise and the orchestra of great intensity.
The second and third movements (Allegro giusto and Andante con moto) particularly appealed to us, respectively for their virtuosity, their use of dynamic orchestral effects and their folk accent in the cadenza of the second movement, where Alisa Weilerstein demonstrates the full range of her technique and the possible interplay of her instrument with evocative ease. Even if what sounds false to the ear is in fact well calculated, written and conveyed with naturalness. The cello lines are as swift as the orchestral lines, blending with the different sections in a rich, inventive orchestration. On stage, Alisa Weilerstein transports us into a world of her own, where she doesn’t just play the music. She is the music. She embodies a character like an actress on a stage, where her facial expressions and gestures are as significant as the accompanying music. The audience gave her a standing ovation for several minutes.
The second part, dedicated to the music of the ballet Daphnis et Chloé, plunged us into a dreamlike, colorful world. Here, Payare becomes a painter before a blank canvas which he paints with precision. Even if we’re dealing with repertoire that’s all too familiar, it’s always a delight to see the dynamics and colors imagined by Ravel unfold. The arrangement of the choir, which was installed higher than usual due to the recording, was also interesting. It’s a nice touch, too, to have the rows of choristers enter successively during the introduction, to simulate the effect of voices arriving from afar and gaining in power. A minor criticism: the processional effect would have had even greater impact if this entrance had been sung without a score! For the rest, the choir’s interventions were excellent, delivered with fine control of nuances and dynamics. In the orchestra, Rafael Payare danced across the stage, instilling vigor and character into the various orchestral forces, both in the more diaphanous moments and in the thunderous, brassy passages reminiscent of the language of George Gershwin. The astonishingly complementary and passionate interpretation of the evening’s two works richly deserved the thunderous applause of a packed Maison symphonique, and gave the orchestra great material for their forthcoming album releases, which we look forward to discovering.
Beethoven dépeint poétiquement les chants d’oiseaux et le murmure des ruisseaux, alors que Janácek, en fin observateur, oppose la quiétude de la vie sylvestre au monde conflictuel des humains. De son côté, Glass s’inspire de poèmes africains évoquant le mythe de la création du monde et celui des dieux du royaume d’Ifé. La musique nourrit l’imaginaire d’Angélique Kidjo qui donne vie aux légendes avec sa voix puissante et profonde.
While Beethoven poetically depicted birdsong and rippling streams, Janácek, a stark observer, contrasted the stillness of forest life with the conflict-filled world of humans. Meanwhile, Glass drew inspiration from African poems that tell of the creation myth and deities of the ancient Ifé Empire, fuelling the imagination of Angélique Kidjo, who brings these legends to life with vocal depth and power.
Dans ce programme, l’alto, avec ses sonorités profondes et émouvantes, exprime la douleur de la séparation qui résonne dans l’œuvre de Wagner et dans le Concerto de la compositrice canadienne Cassandra Miller, créé en 2023 par Lawrence Power. Quant à Debussy, il dépeint la mer à travers des touches impressionnistes, mêlant nostalgie et rêve, pour un voyage sonore fait de subtiles sensations. Une expérience musicale à la fois intense et poétique, à découvrir absolument!
This program highlights the viola’s deep, expressive voice in Canadian composer Cassandra Miller’s Concerto, a poignant reflection on separation premiered in 2023 by Lawrence Power, and an excerpt from Wagner’s Tristan and Isolde, both poignant reflections on separation. Meanwhile, Debussy paints a vivid portrait of the sea with impressionistic colours, immersing listeners in a nostalgic and dreamlike soundscape. Enjoy a musical journey that is both powerful and poetic.
Programme
Hector Berlioz, Le Corsaire, Ouverture, op. 21, H 101 (8 min) Cassandra Miller, I cannot love without trembling, concerto pour alto (25 min) Richard Wagner, Tristan und Isolde, WWV90 : Prélude et mort d’Isolde (17 min) Claude Debussy, La mer, trois esquisses symphoniques pour orchestre, L. 109, CD 111 (23 min)
Program
Hector Berlioz, Le Corsaire, Overture, Op. 21, H 101 (8 min) Cassandra Miller, I cannot love without trembling, Concerto for Viola (25 min) Richard Wagner, Tristan und Isolde, WWV90: Prelude and death of Isolde (17 min) Claude Debussy, La mer, trois esquisses symphoniques pour orchestre, L. 109, CD 111 (23 min)
Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360
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